After-School Programs

Transcription

Building fun and creativity into standards-based learning
After-School
Programs
K through 6
Ron De Long, M.Ed.
Janet B. McCracken, M.Ed.
Elizabeth Willett, M.Ed.
©2009 Crayola, LLC
Easton, PA 18044-0431
Acknowledgements
This guide and the entire Crayola® Dream-Makers® series would not be possible without the expertise and tireless
efforts of Ron De Long, Jan McCracken, and Elizabeth Willett. Your passion for children, the arts, and creativity are
inspiring. Thank you. Special thanks also to Betsy Moerder and Julia Sefton for their content-area expertise, writing,
research, and curriculum development of this guide.
Crayola also gratefully acknowledges the teachers and students who tested the lessons in this guide:
Genifer Best, Alice Carlson Applied Learning Center, Fort Worth, TX
Robin Carmody, Hillcrest Academy for Child Development, Wescosville, PA
Ronald C. Cope II, NJ After 3, Paterson, NJ
Mary Copeland, Riverside Middle School, Fort Worth, TX
Sue Dietrich, Bentley Elementary School, Lake Mary, FL
Lauren Kolesar Eatinger, West Hurst Elementary School, Hurst, TX
Yvonne Greene, West Ward Elementary School, Slaton, TX
Jan Hall, Dear Run and Olde Sawmill Elementary Schools, Dublin, OH
Stephanie Hascall, Abrakadoodle, West Linn, OR
Dan Hascall, Abrakadoodle, West Linn, OR
Linda Henning, 21st Century Learning Grant Coordinator, Bethlehem School District, Bethlehem, PA
Jeff Houck, Abrakadoodle, Dublin, OH
Debra L. Jones, A.J. Gomes Elementary School, New Bedfored, MA
Nicole Marie Jones, Jamestown Public School, Arlington, VA
Rebecca King, Girl Scouts of America, Troop #25, Napa, CA
Connie Diane McClure, Lakewood Elementary School, Fort Worth, TX
Julie MacLeod, NJ After 3, Paterson, NJ
Carolyn Drane Melms, Huffman Elementary School, Anchorage, AK
Karen Mullen, Fitzgerald Elementary School, Arlington, TX
Kelsey Newman, Stafford Primary School, West Linn, OR
Jacqueline Norman, NJ After 3, Norman S. Weir School, Paterson, NJ
Joanne O’Connor, NJ After 3, Cold Springs Elementary School, Gloucester, NJ
Meghan O’Connor, NJ After 3, Cold Springs Elementary School, Gloucester, NJ
Ann Paul, Brownwood Elementary School, Scottsboro, AL
Janet L. Paulmann, Atlantic Highlands School, Atlantic Highlands, NJ
Nancy Rhoads, Curlew Creek Elementary School, Palm Harbor, FL
Seouvan Rodriquez, NJ After 3, Lady Liberty Charter School, Newark, NJ
Linda Schaeffer, Abrakadoodle, Moorestown, NJ
Lynn Sosa, Clearview Elementary School, Bethlehem, PA
Sarah Sterner, Doyle Elementary School, Doylestown, PA
Sharon St. Clair, Walt Disney School, Anaheim, CA
Heather Trauger, Hillcrest Academy for Child Development, Wescosville, PA
Jon Tilli, NJ After 3, Jersey City, NJ
Sue Walia, Abrakadoodle, Falls Church, VA
Sherry White, Bauerschlag Elementary School, League City, TX
Ann Winters-Canfield, Bullard Talent School, Fresno, CA
Paula Zelienka, St. John Neumann Regional School, Palmerton, PA
We created this supplemental resource to aid before- and after-school teachers, assistants, and volunteers to develop
ideas and activities that stimulate children to extend their learning beyond the school day with fun and creative
hands-on experiences. The projects in this guide cover a wide range of subject matter, and are aligned to national
standards in the core curriculum areas in order to help you gain support and funding for your program. By creating
fun, memorable learning opportunities for children, you enhance their ability to dream big and reach their goals.
Nancy A. De Bellis
Director, Education Marketing
Crayola
Crayola Dream-Makers is a series of standards-based supplemental
curriculum resources that contain lesson plans for educators teaching
kindergarten through 6th grade. Each guide uses visual art lessons to
stimulate critical thinking and problem-solving for individual subject
areas such as Math, Language Arts, Science, and Social Studies. Students
demonstrate and strengthen their knowledge while engaging in creative,
fun, hands-on learning processes.
©2009 Crayola, LLC. All rights reserved.
Permission inquiries should be directed to:
Crayola
Attn: Content Editor
1100 Church Lane
Easton, PA 18044-0431
www.crayola.com/educators
2
Printed in the China
ISBN: 0-86696-326-X
Table of Contents
Crayola Dream-Makers: Catalyst for Creativity! .......4
Lessons
Which Words Go Hand in Hand?
Vocabulary-Building Games .................................6 Word comprehension
From Blocks to Blueprints to Cornerstones .............10 Scale drawings
Shapes + Numbers + Colors = Patterns! ................14 Plane geometry
We’re Community Partners—A Team Mosaic ........... 18 Cultural symbols
Move & Shake Masks! ................................................22 Performing arts
Artists All Around Us! ................................................26 Artists in residence
Tributes on Tiles ....................................................... 30 Commemorations Mystery Creatures From…? .......................................34 Visualization and fantasy
Circular Geometry: Mandalas ...................................38 Radial design
Join Hands to Celebrate Diversity .............................42 Cultural traditions Dried Model Magic® Creations ..................................46 Recycling
Travel With a Troupe in a Trunk .............................. 50 Theatrical productions
A Comic Scroll Through Time ...................................54 Story sequence
Probe Far Into Space .................................................58 Scientific inquiry
Measure Magnificently: Sculpture on the Scales ......62 Weights and measures
Faces That Tell Stories .............................................. 66 Family interviews
Place-to-Place Pop-Ups ..............................................70 Human migration
Poised for a Performance ..........................................74 Theater
Make Your Own Mancala Game ................................78 Traditional games
Dancing With Your Dog ............................................82 Movement and music
“Real Estate” Ads for Wildlife ....................................86 Endangered species
Pirates in Poetry .........................................................90 Hand-puppet poems
Pizzazzy Pins ..............................................................94 Jewelry making
Murals With a Message ..............................................98 Social commentary
Choosing Crayola Art Supplies ....................................102
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Crayola Dream-Makers : Catalyst for Creativity!
®
®
Each Crayola Dream-Makers guide provides teachers with 24 arts-focused lessons that extend children’s
learning and enhance academic skills. Align these lessons with your school district and state curriculum
standards. Stay flexible in your teaching approaches with adaptations like these.
•Be prepared. Read through the lesson first. Create an art sample so you understand the process.
•Discover new resources. Each lesson contains background information, fine art and craft examples,
representative student artwork, vocabulary builders, and discussion ideas. Use these suggestions as a
springboard to find resources that address your students’ interests and are pertinent to your community.
Search Web sites such as Google Image to locate fine art. Stretch student imaginations and their
awareness of the world around them.
•Seek creative craft materials. Ask children’s families and local businesses to recycle clean, safe items
for project use–and take better care of the environment, too. Recycle, Reuse, Renew!
•Showcase student achievements. Create banners to accompany curriculum project displays in your
class, school, or community. Post the lesson’s standards-based objectives with displays to demonstrate
broad-based student learning. Demonstrate how children’s accomplishments have personal meaning and
promote life-long learning through portfolio documentation.
•Make this book your own. Jot down your own ideas as you plan and reflect on students’ learning
experiences. Combine art techniques and lesson content to fit goals for your students and classroom.
Substitute other transformative craft materials. With students, make content webs of possibilities for
extending learning opportunities.
•Build connections. Collaborate with your students, other teachers, administrators, artists in residence,
and community groups to plan lessons that are unique. Work together to promote creative thinking!
•Write DREAM statements. As part of the assessment process, students are asked to reflect on their
work in a dream journal. Before the lesson, Dream statements are expected to capture children’s prior
knowledge about each topic. After each lesson, students state in writing how they will use what they
have learned and dream about possibilities for future exploration.
•Funding resources. Crayola Dream-Makers lesson plans have been used in school programs funded by
a variety of federal, state, local, and private grants. For more information about grants and grant writing
visit The Foundation Center at www.fdncenter.org.
The lessons in this book are intended to address content benchmarks
and grade-level expectations along with a heavy concentration of key
art concepts. All lessons are teacher- and student-tested and follow
a consistent format to support you in planning creative, fun
learning opportunities for your students.
Benefits of Arts Integration
The 2006 report Critical Evidence–How the ARTS
Benefit Student Achievement, published by the
National Assembly of State Arts Agencies in
collaboration with the Arts Education Partnership,
identifies a number of ways that arts learning
experiences benefit students. Teachers who consciously
integrate arts-based practice into their teaching bring these
benefits to their students.
“Certain arts activities promote growth in positive social skills,
including self-confidence, self-control, conflict resolution,
collaboration, empathy, and social tolerance. Research evidence
demonstrates these benefits apply to all students, not just the gifted and
talented. The arts can play a key role in developing social competencies
among educationally or economically disadvantaged youth who are at greatest
risk of not successfully completing their education.” (p. 14)
According to Diane Watanabe and Richard Sjolseth, co-directors of the Institute of Learning, Teaching, and
the Human Brain, when there is joy in learning, student achievement soars.
“When students find joy in their creative outlets, there is a positive carryover to school in general.
Emotion, interest, and motivation promote learning and memory. Brain research shows the brain
produces as least three pleasure chemicals when joy is present: endorphins, dopamine, and serotonin.
These chemicals account for the emotional states produced by self-satisfaction, positive self-image,
passion for one’s art, and joy in learning.” (2006, p. 20)
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Children learn in many different ways
Howard Gardner has identified eight types of intelligences and
may add others. Arts-integrated learning experiences enable
children to more fully develop a wide range of skills and
understandings.
•Linguistic intelligence involves sensitivity to spoken and
written language, the ability to learn languages, and the
capacity to use language to accomplish certain goals.
•Logical-mathematical intelligence consists of the capacity
to analyze problems logically, carry out mathematical
operations, and investigate issues scientifically.
•Musical intelligence involves skill in the performance,
composition, and appreciation of musical patterns.
•Bodily-kinesthetic intelligence entails the potential of using
one’s whole body or parts of the body to solve problems.
•Spatial intelligence involves the potential to recognize and
use the patterns of wide space and more confined areas.
•Interpersonal intelligence is concerned with the capacity
to understand the intentions, motivations, and desires of other
people. It allows people to work effectively with others.
•Intrapersonal intelligence entails the capacity to understand
oneself, to appreciate one’s feelings, fears, and motivations.
•Naturalist intelligence enables human beings to recognize,
categorize, and draw upon certain features of the
environment. (Gardner, 1999: pp. 41-43, 52)
Find More Resources at www.crayola.com/educators
Supplementary materials for Dream-Makers guides include:
•Printable certificates for recognizing children’s participation and
adults’ support
•Thousands of images of children’s art
•Demonstration videos for teaching arts-integrated lessons
•Lesson-by-lesson correlations to California, New York, Texas,
Illinois, and Florida standards
•Printable resource guides for educators and administrators
•More than 1,000 free, cross-curricular lesson plan ideas on wide ranging topics, all developed by experienced educators. Sign up for
free monthly newsletters to keep you abreast of the newest Crayola
products, events, and projects.
Bibliography
Gardner, H. (1999). Intelligence Reframed: Multiple Intelligences for the 21st Century. New York: Basic Books.
Marzano, R.J. (March 2005). ASCD Report–Preliminary Report on the 2004-05 Evaluation Study of the ASCD Program
for Building Academic Vocabulary. Reston, VA: Association for Supervision and Curriculum Development.
National Assembly of State Arts Agencies (NASAA) in collaboration with the Arts Education Partnership. (2006).
Critical Evidence–How the ARTS Benefit Student Achievement. Washington, DC: Author.
Smith, M.K. (2002). Howard Gardner and multiple intelligences. The encyclopedia of informal education,
http://www.infed.org/thinkers/gardner.htm. Retrieved from http://www.infed.org/thinkers/gardner.htm May 9, 2007.
Reprinted with permission.
Watanabe, D., & Sjolseth, R. (2006). Lifetime Payoffs: The Positive Effect of the Arts on Human Brain Development.
Miami, FL: NFAA youngARTS. Reprinted with permission.
5
Which Words Go Hand in Hand? Vocabulary-Building Games
Objectives
Multiple Intelligences
Students systematically expand their vocabularies and word
comprehension by exploring parts of speech (nouns/adjectives
and/or verbs/adverbs) and the meanings of those words in
context of their recent literary experiences.
Students apply their knowledge of measurement and
principles of visual organization to invent and play a concrete
vocabulary-building game.
Interpersonal
Spatial
Linguistic
Spatial
Spatial
National Standards
Visual Arts Standard #2
Uses knowledge of
structures and functions
Understands the visual arts
in relation to history and
cultures
English Language Arts Standard #3
Students apply a wide range of strategies to comprehend, interpret, evaluate, and appreciate
texts. They draw on their prior experience, their interactions with other readers and writers,
their knowledge of word meaning and of other texts, their word identification strategies, and
their understanding of textual features (e.g., sound-letter correspondence, sentence structure,
context, graphics).
Mathematics Standard
Measurement
Understand measurable attributes of objects and the units, systems, and processes of measurement
Background Information
Resources
Vocabulary games such as word searches and anagrams have
been played for generations. A word square was found in the
ruins on Pompeii, Italy. Simple crossword puzzles were played
in 19th century England. A printed crossword puzzle first
appeared on December 21, 1913, in the Sunday edition of the
New York World.
One of the most popular word games, SCRABBLE®, was
invented by an unemployed architect, Alfred Mosher Butts, in
the 1930s. He counted alphabet letters on the front page of
The New York Times to determine how many tiles of each
letter to include in the game. To keep play challenging, he
included only 4 Ss.
Several manufacturers turned down Butts’ idea, so he and
a partner began to manufacture the game in an abandoned
school in Connecticut. At first, they lost money, but in the early
1950s the legend is that the president of Macy’s discovered
the game, ordered some for his store, and the games were
soon so popular they had to be rationed. Every year, there
are National School SCRABBLE Championships for students
in 5th to 8th grades.
A Mink, a Fink, a Skating Rink: What Is a Noun?
by Brian P. Cleary
This humorous book uses fun wordplay with bright
illustrations to help kids identify what a noun is. The
silly sentences also have the nouns color-coded for easy
identification by the reader.
Dearly, Nearly, Insincerely: What Is an Adverb?
by Brian P. Cleary
With colorful illustrations of felines and other fun creatures,
this book sounds like fun nonsense that kids like but also
teaches readers about different uses of adverbs. It is full of
energy and humor and really keeps the reader engaged.
Hairy, Scary, Ordinary: What Is an Adjective?
by Brian P. Cleary
The book is full of rhyming sentences that seem to bounce
with the clever manner in which the text is written. Fun
and humorous illustrations reinforce the meaning and use
of adjectives visually.
Kites Sail High by Ruth Heller
This book focuses on verbs, and it starts out fairly simple and
gets more complex. Its bold and bright graphics are appropriate and striking for all ages.
Vocabulary List
Use this list to explore new vocabulary, create idea webs,
or brainstorm related subjects.
Antique Spelling and Counting Games
Artist unknown
Cardboard, wire, wood
12" x 12" and 12" x 24"
Collection of J. McCracken.
6
Adjective
Adverb
Alphabet
Charades
Color-code
Decorate
Describe
Divide
Fraction
Game
Illustrate
Language
Measure
Noun
Properties
Sentence
Speech
Spelling
Theme
Verb
Vocabulary
Word
Artwork by students from
A.J. Gomes Elementary School,
New Bedford, Massachusetts.
Program leader/teacher: Debra L. Jones
7
Which Words Go Hand in Hand? Vocabulary-Building Games
K-2
3-4
5-6
Suggested
Preparation
and
Discussion
Prepare list of recent vocabulary/
spelling words.
Discuss how to identify nouns and
adjectives.
Play “What Is It?” (Put several
familiar objects in a pillowcase.
Children reach in and describe the
object. Others try to identify object).
Talk about their use of nouns and
adjectives.
With small groups of children,
chart lists of pairs of words to use
in their games. Choose color-coding
system for nouns and adjectives.
Prepare list of recent vocabulary/
spelling words.
Review the meanings of nouns,
adjectives, and verbs.
Play “What Is It?” or “Charades”
(use cards with actions). Talk about
children’s use of verbs.
Small groups of students create
lists of words to use in each category.
Children choose color-coding
system for nouns, adjectives, and
verbs.
Review recent vocabulary/
spelling lists.
Review definitions of nouns,
adjectives, verbs, and adverbs.
Play “Charades” and talk about the
use of verbs and adverbs.
Small groups of students choose
recent vocabulary words. They
select color-code system for nouns,
adjectives, verbs, and adverbs.
Crayola®
Supplies
• Colored Pencils • Glue Sticks • Markers • Scissors
Other
Materials
• Envelopes • Recycled file folders
Set-up/Tips
• White paper
• Prepare a set of sample cards and
envelopes.
Antique Pinball Game
Artist unknown
Wood, glass, paint
28" x 18"
Private Collection.
8
• Brass paper fasteners • Paper plates • Recycled boxes • Ruler
• Ask families to help save clean, empty boxes for this and other projects.
• Prepare a basic model of the game.
K-2
Process:
Session 1
20-30 min.
Make the word-pairs
card game
1.In small groups, cut cards from
recycled file folders.
2.Refer to vocabulary chart. Neatly
write one color-coded word on
each index card.
3.Prepare envelopes with colorcoded labels for nouns and
adjectives. Decorate envelopes
with a pattern (to create visual
unity).
4.Sort the cards into correct
envelopes.
Process:
Session 2
15-20 min.
Assessment
3-4
5-6
Make the vocabulary spinner game
1.Work in small groups. Cut off rippled edge of one paper plate. Use a
ruler to draw straight lines that divide the plate into 8 (or more) equal
parts. Lay this plate on top of another plate and extend the lines on the
second plate. Make a second set of plates in the same way.
2.On the larger plates, write 8 nouns or 8 verbs. On the smaller plates
write 8 adjectives or 8 adverbs.
3.Cover a small box with paper. Choose a common decorating theme
(to create visual unity for the game). Decorate box sides and empty
areas of plates.
4.Push paper fastener through the center of one set of plates and the
box lid. Spread tongs loosely so plates will spin.
Play the game
5.In small groups, students decide who goes first. That person either chooses one card from each envelope or
spins the plates so that two words line up.
6.Students make up a sentence with those words and state the sentence orally. They listen carefully to each
other’s sentences for accurate usage and meaning. Children take turns changing words and making up sentences.
7.Students draw pictures to illustrate their favorite sentences. They write their sentences on their drawings.
• Students correctly spell and sort
vocabulary cards into color-coded
envelopes.
• Students use nouns and adjectives
appropriately in original, oral
sentences.
• Student illustrations relate to
chosen sentences.
• Students correctly divide and label paper plates.
• Students use vocabulary words appropriately in original, oral sentences.
• Student illustrations accurately depict their chosen sentences. Sentences
are neatly written and words are spelled correctly.
• Ask students to reflect on this lesson and write a DREAM statement to summarize the most important things
they learned.
Extensions
As a whole class, take turns choosing words and writing them in sentences that tell a story. Share stories with
class. Illustrate stories and display.
Play a game in which the first word chosen remains the same. Change modifiers to make several sentences all
about the same word. Illustrate, put together in logical sequence to create a story, and bind together as a book.
Create smaller wheels or more cards to add different types of words (so there are three or more words to
combine).
Create similar games for vocabulary in science, math, and other curriculum areas.
Groups trade and play each other’s games.
9
From Blocks to Blueprints to Cornerstones
Objectives
Children demonstrate an understanding of the relationship
between architecture and construction by building original block
structures and making blueprints (scale drawings) of their designs.
Children gain an understanding of the historical significance of
cornerstones by creating mock cornerstones in which to place
their blueprints.
Children gain experience with form and function by constructing
structures following blueprints drawn by others in the group.
Logical-mathematical
Spatial
Spatial
Linguistic
National Standards
Uses knowledge of structures and functions
Understands the visual arts in relation to history and cultures
Science Standard
Unifying Concepts and Processes
Form and Function
Measurement
Apply appropriate techniques, tools, and formulas to
determine measurements
Social Studies Standard #3
People, Places, and Environment—experiences that provide
for the study of people, place, and environments.
Science, Technology, and Society—experiences that provide
for the study of relationships among science, technology,
and society.
Resources
Placing cornerstones is a tradition that began in the
Middle Ages with stoneworkers’ guilds. In 1163, Pope
Alexander III laid a cornerstone in the Notre Dame
de Paris Cathedral.
Some cornerstones are solid and others include time
capsules filled with commemorative items. George
Washington laid the first of four cornerstones in the
United States Capitol in 1793. A second cornerstone
was placed in 1818. Daniel Webster (statesman, 1782-1852)
took part when the third one was added. It was later
carved out to hold newspapers and views of Washington,
D.C. In 1959, a copper box was laid as part of a cornerstone that contained, among other things, a telephone
book and sealed messages from members of Congress.
The Washington Monument’s marble cornerstone,
laid on July 4, 1848, weighed 24,500 pounds (11.113
metric tons). Workers dragged it through city streets
from the railroad station. After a 2-hour speech, the
cornerstone was dedicated with Masonic ceremonies.
Memorabilia placed into a zinc case in the cornerstone
include newspapers from 14 states, the bylaws of
the Powhatan Tribe No. 1, and a portrait of George
Washington.
Architects Make Zigzags: Looking at Architecture
From A to Z by Roxie Munro
An architectural alphabet of elegant, detailed line drawings
for ages 4 to 8.
Architecture and Construction: Pyramids, Log Cabins, Castles,
Igloos, Bridges, and Skyscrapers from Scholastic Books
Stories about famous architects and how structures are
made around the world. Ages 6 to 13.
Art of Construction: Projects and Principles by
Mario Salvadori
Covers principles of construction for many types of
buildings. Include ideas for using household items as
building materials. Ages 9 to 12.
Frank Lloyd Wright: His Life and Ideas by Kathleen
Thorne-Thomsen
A simplified biography of the great architect. Includes
many architecturally focused activities for children in
grades 4 through 6.
Vocabulary List
Architect
Architecture
Blueprint
Builds
Building
Construction
Cornerstone
10
Design
Draw
Elevation
Environment
Form
Function
Keystone
Model
Scale
Sketch
Structure
Time capsule
Artwork created by students
from the Alice Carlson
Applied Learning Center
Fort Worth, Texas.
Teacher: Genifer Best
Artwork created by students
from St. Theresa School
Hellertown, Pennsylvania.
11
From Blocks to Blueprints to Cornerstones
K-2
3-4
5-6
Suggested
Preparation
and
Discussion
Read books and engage in inquiry on the Internet about buildings, architecture, architects, and construction.
Scaffold interdisciplinary learning as children explore construction ideas.
Invite an architect or engineer to discuss how blueprints are read. If possible, locate the blueprints of your
building and explore its details together.
Experiment with building using a variety of unit, table, and hollow blocks as well as cardboard boxes.
Ask families to share photos of the construction of their own houses or other buildings.
Crayola®
Supplies
• Colored Pencils • Crayons • Glue Sticks • Markers • Scissors
Other
Materials
• Blocks (wood, plastic, or cardboard) • Recycled boxes • Rulers • White paper
Set-up/Tips
• Ask families to save recycled boxes.
• If you share space, save and/or photograph children’s structures so they can continue to work on projects
another day.
Floor Plan of The Crayola Factory™
Collection of Crayola.
Artwork created by students from
Jamestown Public School,
Arlington, Virginia.
Abrakadoodle Director: Sue Walia
Program leader/teacher: Nicole Marie Jones
12
K-2
Process:
Session 1
20-30 min.
3-4
5-6
Build models and make scale drawings
1.Individually or in small groups, build 3-D structures with blocks or recycled boxes. Use at least three different
forms. Make them as elaborate as possible.
2.Sketch the 3-D structure on paper. Show the relative size and correct form of each block as well as their
elevation. Develop a key to symbols shown on floor plan for elements such as windows and doors.
3.Children sign their names to their “blueprints” in block letters as an architect might do.
Process:
Session 2
15-20 min.
Construct a cornerstone
4.Measure and cut paper to cover a box for a replica cornerstone. Glue paper to box.
5.Decorate cornerstone. Work the building date and other pertinent information into the overall design.
6.Fold or roll up blueprint and place inside cornerstone.
Process:
Session 3
20-30 min.
Open cornerstones and construct replicas
7.Exchange cornerstones among architects. Construct buildings according to blueprint designs. Consult original
Assessment
• Did children use at least three block forms in their initial constructions?
• Do children understand the relationship between the 3-D construction and their 2-D drawing? Were drawings
architects if construction questions arise.
done accurately to scale? Do drawings include a key to symbols?
• How easily were children able to re-create the intended structures from others’ blueprints?
• Reflect on the building and scale drawing process.
• What elements of the blueprints were helpful?
• How would students improve their drawings if they were to repeat the experience?
Extensions
Consider asking children to work in multi-age groups. The kinesthetic nature of the building portion of this project
will probably appeal to young children and those with special needs. Encourage older children to help younger ones
measure the blocks and assist in drawing their structures to scale as needed.
Find out how traditional blueprints are made. These inexpensive and large-sized copies rely on chemistry to work.
Try making sun prints, another method of reproducing images.
Most architects use computer-aided design (CAD) to realize their vision. Visit a drafting or architect’s office and see
how CAD works. Many contemporary buildings like Frank Gehry’s museum in Spain, Bilbano Guggenheim, could not
have been designed without CAD.
Go on a cornerstone scavenger hunt around the neighborhood. Record the types of information included on them.
Which is the oldest? The newest? The most interesting? What materials are used to construct cornerstones?
Challenge students interested in architecture to find out what a keystone is and how it is used in building. Suggest
that they research the relative merits and drawbacks of different types of building materials such as concrete, steel,
glass, and wood.
Make scale drawings or sketches of structures in the neighborhood. Mat and frame them for exhibit.
Children’s Building Blocks
Paint, wood
1 1/2" x 1 1/2" x 1 1/2"
Private Collection.
13
Shapes + Numbers + Colors = Patterns!
Objectives
Children identify two-dimensional geometric shapes, make
templates with them, and use the shapes as manipulatives to
create mathematical “sentences.”
Children make and use plane geometric shapes to create a
patterned, visual arts project that reflects his/her mathematical
“sentence.”
What Does It Mean?
Movement: suggestion of
motion in art
Spatial
National Standards
Understands and applies media, techniques,
and processes
Makes connections between visual arts and
other disciplines
Mathematics Standards
Number and Operations
Understand numbers, ways of representing
numbers, relationships among numbers, and
number systems
Geometry
Analyze characteristics and properties of
two- and three-dimensional geometric shapes
and develop mathematical arguments about
geometric relationships
Vocabulary List
Quilting—the use of fabric pieces, layers of padding, and
appliqué—probably began in ancient Egypt. An Egyptian
canopy quilt dated 980 BCE was made of dyed gazelle leather.
A quilted linen carpet was found in a Siberian cave tomb.
Quilted objects in silk and cotton started to appear in the
6th century along the Silk Road between Asia and Europe.
Today, quilters are active in many countries, including the
United States, Italy (trapunto), China and Japan (sashiko),
Central America (mola), France (boutis), and Uzbekistan
(qavi, kurak, korpucha).
Traditional quilt pattern names are delightful: Honeycomb or
Hexagon, Plain Block, Log Cabin, Diamond in Square, Flower
Basket, Pinwheel, Broken Dishes Barn Door, Blazing Star, and
Wild Goose Chase. Notice how many of these examples
include geometry and nature! More than 4,000 different
quilt patterns have been identified.
Architect
Architecture
Arrangement
Balance
Color
Combinations
Contrast
Culture
Design
Egyptian
Equation
Geometry
Hexagon
Resources
Architects Make Zigzags: Looking at Architecture From
A to Z by Diane Maddex
Unique alphabet book illustrated with detailed black and
white line drawings of American architecture. Encourages
observation and attention to details. Focuses on shapes,
patterns, and designs. Of interest to all ages.
I Spy Shapes in Art by Lucy Micklethwait
Challenges readers to search for shapes and objects within
reproductions of 19th and 20th century paintings. An excellent
introduction to visual literacy for grades K to 2.
Nature’s Paintbrush: The Patterns and Colors Around You
by Susan Stockdale
Text and bold paintings reveal how shapes, colors, and
patterns function in nature. Excellent resource for integrating
art and science in the early elementary grades.
Pigs on the Ball: Fun With Math and Sports by Amy Axelrod
Introduces children in grades 1 through 3 to simple geometry
with an engaging story about a pig family.
14
West Hurst Elementary
School, Hurst, Texas.
Program leader/teacher:
Lauren Kolesar Eatinger
Mosaic
Movement
Number
Octagon
Pattern
Pattern
Plane shapes
Quilt
Shape
Solid shapes
Tangram
Trapezoid
Visual arts
West Hurst Elementary School,
Hurst, Texas.
Lauren Kolesar Eatinger
15
Shapes + Numbers + Colors = Patterns!
K-2
3-4
5-6
Suggested
Preparation
and
Discussion
Provide various sizes, shapes, and colors of blocks, geometric puzzles, tangrams, and similar manipulatives.
Encourage children to create patterns.
Discuss differences between plane geometric shapes and solid geometric forms. Take children on a “shape hunt”
either indoors and/or outdoors. Observe construction of buildings in the neighborhood. Encourage children to find
more shapes wherever they are.
Ask children to identify patterns in their clothing, wallpaper, gift wrap, and other surroundings. Identify an
increasingly larger number of plane geometric shapes with older children (hexagon, trapezoid, octagon).
Ask children to compare and contrast the attributes of various plane shapes and solid geometric forms.
Display pictures of shapes, patterns, and mosaics from several cultures in fabrics, architecture, and other art.
Crayola®
Supplies
• Colored Pencils • Markers • School Glue • Scissors
Other
Materials
• Blocks (wood, plastic, or cardboard) • Construction paper • Recycled file folders • Rulers
Set-up/Tips
• Collaborate with other teachers/programs to share unit, table, and/or hollow blocks on a rotating basis.
Stained Glass Window
Artist: E. Willett
Glass, resin, gravel
18" x 24"
Private Collection.
16
K-2
Process:
Session 1
20-30 min.
Process:
Session 2
15-20 min.
3-4
5-6
Make the shapes
1.Draw three favorite geometric shapes on recycled file folders. These can be circles, ovals, triangles, squares,
parallelograms, or other shapes. Encourage older children to use rulers or other measuring devices as appropriate
to their ages and ability levels to make more sophisticated shapes. Cut out the shapes to use as templates.
2.Choose three different numerals between 1 and 9 such as 2, 5, and 9. Write one numeral on each template.
3.Choose a different color of construction paper for each shape. Trace the same number of shapes on the
construction paper as the number written on the template. Cut out the shapes.
4.Decorate shapes with patterns and designs. More skilled children are expected to make more intricate patterns.
Sort shapes and make art
5.Children name their three
shapes and sort their pieces
into piles by shape.
Create fractions and make art
5.Children choose one shape. Cut
all of those shapes into the same
number of smaller pieces as the
shape has sides (i.e., cut squares
diagonally into four triangles.)
Group similar pieces together.
Create fractions and make art
5.Children cut shapes into
fractions. For example, cut
one shape in half, one type in
thirds, and one type in quarters.
Group similar pieces together.
6.On large paper, organize shapes into a pattern or design. Discuss principles of visual organization such as
balance and movement, so compositions will be more interesting. Encourage experimentation. Urge more
mature children to create more elaborate compositions. Glue pieces to paper. Air-dry the glue.
Process:
Session 3
15-20 min.
Write simple equations
7.Use the numerals written on
Assessment
• Did children follow directions to make their shapes? Did they decorate and glue the pieces in an interesting and
Extensions
each shape to make an addition
or subtraction sentence/
equation. Challenge children
to write more than one! Write
the number sentences on the
art in an interesting way.
Write multiplication sentences
7.Look at the shape that was cut
into smaller pieces. Write a multiplication sentence to show
how many new pieces resulted.
(i.e., three squares each cut into
four triangles would be 3 x 4 =
12). Challenge children to write
more than one number sentence. Write sentences on the
art in an interesting way.
Write equations
7.Use the numbers written on the
shapes to make mathematical
equations: addition, subtraction,
multiplication, or division.
Challenge children to write
several equations. Write them
on the art in an interesting way.
balanced manner?
• Do the mathematical “sentences” accurately reflect the numerals, shapes, and fractions represented in the art?
Do the equations stretch children’s mathematical understandings?
• Discuss the variety of numerals, shapes, fractions, and patterns used in the group. Compare/contrast the
highlights of each child’s artistic composition. Would any of them do anything differently if they were to make
another such artwork?
they learned.
This is a great way to learn the names of shapes and numerals in other languages! Capitalize on the languages
that children in the group speak.
Children write their equations on index cards. Mix the cards. Challenge children to match the math sentences
to the art.
To adapt this project for children with special needs, ask them to write their mathematical sentences first.
They create shapes to match the sentences. Provide help with cutting as needed.
Encourage children with strong spatial intelligence to cut their pieces into a large number of smaller parts to
create complex designs and patterns.
A group of children could work together to create a pattern on large paper with each of the cut-out shapes.
17
We’re Community Partners—A Team Mosaic
Objectives
Children work in small groups using their problem-solving skills
to analyze traditions of diverse cultures and their own, to choose
suitable symbols for their community.
Students relate their symbols with a growing understanding of
traditional mosaic making, and explore the mosaic process as they
create a unified community mosaic using a variety of symbols.
Interpersonal
Spatial
Intrapersonal
Spatial
National Standards
Understanding and applying media, techniques, and processes
Understanding the visual arts in relation to history and cultures
Culture—experiences that provide for the study of culture and
cultural diversity.
People, Places, and Environments—experiences that provide for
the study of people, places, and environments.
Resources
Historically, mosaics were made using small cut, dried,
glazed, and fired tiles called tesserae.
Since the Middle Ages, many cities have chosen coats of
arms or other insignia to depict their heritages and promote
unity. These are a few examples of symbols used by cities
around the world:
•Vancouver, British Columbia, Canada: ship’s sail
and crown, Kwakiutl totem pole, logger and fisher,
dogwood flowers
•Himeji, Japan: white heron
•Riika, Latvia: sun, riflemen, stars, red lion, silver griffin
•Springfield, Ohio, United States: six triangles (community, education, recreation and art, Madonna of the
trail, industry, religion), all surrounding 1850, the date
of incorporation
•Puerto Vallarta, Mexico: bronze Triton wearing a
Mexican sombrero riding a seahorse
•Knox, Victoria, Australia: little brown falcon
•St. Petersburg, Russia: gold emperor’s crown, blue
ribbon, crossed silver anchors, gold scepter, twoheaded eagle
•Shanghai, China: propeller, white magnolia flower,
and a large junk (boat)
Modern Mosaic: Inspiration From the 20th Century
by Tessa Hunkin
Information about the process of creating mosaics. Also
includes philosophy of different techniques. Inspiration
from historical examples.
Our Town—A Guide for Studying Any Community
by Diane Draze, Sonsie Conroy, and Dean Crawford
Chock full of activities to really study your own community.
Filled with ideas and worksheets for students, group
lessons, and learning centers. Promotes children’s research.
Piece by Piece! Mosaics of the Ancient World
(Buried Worlds) by Michael Avi-Yonah
Combines archaeology, art history, and travels through
ancient cultures and their use of mosaics. Techniques
from both ancient and modern times are explored.
Beautiful photographs.
Vocabulary List
Use this list to explore new vocabulary,
create idea webs, or brainstorm related subjects.
Advantage/disadvantage
Ancient
Appropriate
Colors
Community
Contemporary
Culture
Diverse
Environment
Geometric
NJ After 3 at Cold Springs Elementary School
Gloucester City, New Jersey.
Program leader/teacher: Meghan O’Connor
18
Grout
History
Media
Mosaic
Partner
Process
Represent
Symbol
Technique
Tesserae
Tile
Tradition
Unity
Variety
NJ After 3 at Cold Springs Elementary School
Gloucester City, New Jersey.
Program leader/teacher: Meghan O’Connor
19
We’re Community Partners—A Team Mosaic
K-2
Suggested
Preparation
and
Discussion
Display information about
characteristics of your community,
school, or after-school program.
Students list things they feel are
most important to show in their
artwork that best reflect different
aspects of their community.
3-4
5-6
Students investigate information about your community. Lead them to
prioritize the most appropriate aspects to incorporate as symbols in their art.
Suggest that students anticipate ideas that will most likely generate positive
responses from diverse viewers of the mosaic.
Discuss mosaics with students. Find examples of mosaics in your community (brick sidewalks, buildings, stained
glass windows, tabletops).
Explore mosaic examples from different time periods and cultures. Compare the geometric- and plant-themed
mosaics in Islamic art to the mosaics of other cultures and time periods. Encourage students to make connections
between how time, culture, and art influence each other as evidenced by mosaic examples.
Show photographs of mosaic assembly processes and connect how these are similar/different from the process
children will use in this project. Especially note how tesserae (mosaic pieces) are placed slightly apart from each
other. Stress that grout is a very important characteristic of a mosaic.
Review techniques for working in a group, especially valuing each person’s input and agreeing on one concept
to follow. Determine small groups who will work together. Consider mixed-age groups as a way to encourage
teamwork.
Crayola®
Supplies
• Erasable Colored Pencils • Markers • Paint Brushes • School Glue • Scissors • Tempera Paint
Other
Materials
• Recycled newspaper • Water containers
Set-up/Tips
• Model Magic® (white)
• Rolled white paper
• Corrugated cardboard (large) • Paper plates
• Cover art surface with recycled newspaper.
• Work with Model Magic on paper plates.
• Dried Model Magic can be used for interesting sculptures, tesserae,
and even jewelry!
Roman Floor Mosaic
Artist unknown
Colored tesserae
Hermitage Museum
St. Petersburg, Russia
Photo by R. De Long
20
K-2
Process:
Session 1
20-30 min.
Process:
Session 2
15-20 min.
Process:
Session 3
20-30 min.
3-4
5-6
Plan the mosaic
1.In small groups, students
Plan the mosaic
1.Discuss what teams discovered about their community and symbols
Prepare the pieces
4.Make note of colors used in
Prepare the pieces
4.Use marker barrels to roll out Model Magic compound in approximate
discuss specifics of the
community. Decide on symbols
to use in the mosaic.
2.Sketch mosaic design on
large paper. Choose colors
for all symbols.
3.With marker, color in open
areas, which will appear as
grout on the finished mosaic.
the design. Students estimate
how much surface area they
need to prepare as tesserae.
(Hint: they will need less
surface area for the pieces
than is colored in on the base)
5.Paint paper in the colors
and amounts needed. Air-dry
the paint.
Make the mosaic
6.Cut the painted paper into
tesserae.
to represent it. Help them determine appropriate subject matter for
their mosaic.
2.Draw the mosaic on the cardboard.
3.Color in open areas with marker, which will appear as colored grout
on the finished mosaic.
amounts needed for the mosaic.
5.Separate slabs by colors on paper plates. Cut into narrow strips and
then into differently shaped small pieces for tesserae.
6.Brush paint over the tops of all the tesserae. Air-dry the paint.
Make the mosaic
7.Spread a thin layer of glue over mosaic base. Place pieces, slightly apart
from each other, in corresponding colored areas. Air-dry mosaic.
7.Spread a thin layer of glue
over mosaic base. Place pieces,
slightly apart from each other,
in corresponding colored areas.
Air-dry mosaic.
Assessment
• Children show understanding of their community as reflected by their choices of appropriate symbols for it.
• Children worked effectively in groups to solve problems and produce a successful team mosaic.
• Children followed directions for mosaic-making process. Pieces are glued slightly apart from each other.
they learned.
Extensions
Research details about specific aspects of your community: industry, history, diversity, unique services, environmental
issues. Invite leaders to speak with children in the program. Visit facilities in the community. Read local newspapers
and magazines. Utilize this knowledge in representative images for other art/social studies projects.
Extend knowledge of mosaic techniques, designs, materials (stone, glass, terra cotta, paper, wood). Ask local artists
to demonstrate mosaic skills. Students create individual or group mosaics with different materials.
Build upon idea of symbols and meanings and revisit for future art projects. Incorporate into math or science
projects as appropriate.
What is your city’s/school’s symbol? Why was it chosen?
Choose a facility in the community to display the mosaics.
Mosaic
Artist: Daniel Fluck
Ceramic, glass, plaster, vinyl, wood
48" x 60"
Private Collection.
21
Move & Shake Masks!
Objectives
Children explore global cultures and traditions and identify
other countries on maps and a globe.
Children craft an original mask that depicts cultural influences
and perform with it to music or poetry.
What Does It Mean?
Mask-making: representation of human, animal, or
imaginary faces in various
media, often worn in traditional ceremonies, theater,
and celebrations
Bodily-kinesthetic
Linguistic
Musical
Naturalist
National Standards
Understanding the visual arts in relation to
history and cultures
Making connections between visual arts and
other disciplines
Performing Arts Standards
Communicates at a basic level in the four arts
disciplines: dance, music, theatre, and the
visual arts
Relates various types of arts knowledge and
skills within and across the arts disciplines
Global Connections—experiences that
provide for the study of global connections
and interdependence
People, Places, and Environments—the study
of people, places, and environments
Vocabulary List
The Day of the Dead (Dia de Los Muertos) may sound like
a morbid occasion, but in Mexico All Saints’ Day is a 2-day
festival. On November 1st and 2nd families celebrate death
as a part of life. The holiday is a complex blend of Aztec,
Mayan, Spanish, and Roman Catholic traditions.
Families begin the celebration by cleaning and decorating
the graves of loved ones. Some keep an all-night vigil in the
cemetery, during which family stories are told.
All over the country, people decorate with cutout tissue paper
garlands, flowers, pottery figures, photographs of loved ones,
skulls and coffins made from sugar, and candles. Merriment,
music, dances, picnics, and home altars with offerings of
flowers and food are common. Special egg-batter bread (pan
de muerto) is eaten. Masks, some carved from wood, often
look like skulls.
Belief
Celebration
Color
Connection
Craft
Culture
Custom
Embellish
Environment
Facial features
Globe
Holiday
Improvise
Map
Mask
Materials
Movement
Original
Rhythm
Style
Symmetrical
Texture
Tradition
Resources
Can You Spot the Leopard? African Masks by Christine Stelzig
and Fiona Elliot
Part of Adventures in Art series. Double-page spreads explain
folklore, locations, and cultural details of each mask. Also
discusses materials and processes.
Kids Make Music! Clapping & Tapping From Bach to Rock!
by Avery Hart, Paul Mantell, and Loretta Trezzo Braren
Activities based on singing, dancing, and improvisation.
Also includes ideas for creating homemade instruments.
Masks of the World Coloring Book by A.G. Smith
Drawings of masks from China, Mexico, India, Egypt, Peru,
and other cultural styles.
The Art of African Masks: Exploring Cultural Traditions
by Carol Finley
Focuses on specific regions where mask making is traditional.
Photographs of maps and materials.
22
Artwork created by
students from
NJ After 3 at Paterson YMCA–
Norman S. Weir School
Paterson, New Jersey.
NJ After 3 Director:
Ronald C. Cope II
Jacqueline Norman
Alice Carlson Applied Learning Center
Fort Worth, Texas.
23
Move & Shake Masks!
K-2
3-4
5-6
Suggested
Preparation
and
Discussion
Display international masks, or pictures of them, made with various materials. Refer to the originating countries
on a map or globe. Discuss how materials used in masks are related to the natural environment of that country.
Discuss occasions when people from various cultures wear masks (Halloween, Mardi Gras, Day of the Dead,
Chinese New Year). Compare masks for each of these occasions.
Link this craft to other performing arts. When have children used masks themselves? What musical activities do
they enjoy? Dance or move to different styles of music.
Share several international folk or fairy tales. Encourage children to describe masks they might make to portray
interesting characters.
Crayola®
Supplies
• Construction Paper™ Crayons • Glue • Markers • Scissors
Other
Materials
• Construction paper • Decorative craft items (such as buttons, lace, sequins, yarn) • Hole punch
• Map (or globe) • Natural materials (such as leaves, seed pods, small sticks) • Paper plates (optional)
• Recycled cereal boxes • Ribbon • Rubber bands
Set-up/Tips
• Ask families to provide large, clean, recycled cereal boxes as well as ribbon and other craft materials. Also ask
if they have any masks to share representative of diverse cultures.
• SAFETY GUIDELINE When children wear hand-crafted masks, make sure the craft does not obstruct the child’s
vision or impede movement. Keep away from open flame.
Painted Totem Mask
Artist: Scott Atiyeh
Painted paper, raffia
16" x 4" x 4"
Private Collection.
Huichol Beaded Cougar Mask
Beeswax, beads, wood
8" x 9"
Private Collection.
Mexican Dog Mask
Artist unknown
Wood, paint
7" x 4" x 3"
Private Collection.
24
K-2
Process:
Session 1
30-45 min.
Prepare the mask
1.Children cut cereal boxes to
form mask shapes and decide
on a design. Assist them to
cut out any eyes, nose, or
mouth holes.
3-4
5-6
Prepare the mask
1.Children select a cereal box that is large enough to hold in front of the
face. Cut away the back panel. Make eye holes in the front panel. Cut
nose and mouth holes if desired. To make a 3-D nose, make one cut that
goes down, across the bottom, and up the other side for a nose. Fold
slightly at the top to stick out.
2.Cut construction paper into a shape slightly larger than the mask. Cut holes to match any facial features.
Decorate with interesting shapes and designs inspired by sample masks.
3.Glue the construction paper to the mask base so cutouts are aligned. Encourage older children to add 3-D
forms to their mask by rolling shapes of paper, folding tabs that stick out, and adding zigzag paper behind a
shape so that it will pop out from the surface.
4.Glue on craft or found materials for added drama and texture. Air-dry the glue.
Process:
Session 2
15-20 min.
Embellish the mask
5.Roll construction paper into a tight tube and glue the edge. Hold the roll together with rubber bands until the
Process:
Session 3
15-30 min.
Perform!
7.Move and shake with the mask! Dance or improvise movements to music, poetry, or other inspirations.
Assessment
• Children successfully create a mask with colors/designs inspired by diverse cultural examples.
• Children describe the country, natural environment, and/or cultural traditions associated with their masks.
• Children participate in improvisational movement or a performance using their masks.
glue dries. Glue handle to the back of the mask. Air-dry the glue.
6.Create streamers with ribbons or cut-paper shapes. Attach to mask and/or its handle with glue or tie through
holes punched along the edge of the mask.
Wave streamers in the wind. Twirl them gracefully. Take a bow while holding the mask in place!
they learned.
Extensions
Children design and create costumes to go with their masks. Draw them on large paper traced from their bodies
or make them out of paper and fabric.
Gifted students could learn a song, poem, or vocabulary in the language of the country where their masks
originated. Encourage them to perform in that language while wearing their masks.
Students with musical talents might enjoy composing and performing original music to accompany a performance
using the masks. If possible, use a computer program to help with composition.
For students with special needs, select and read a folktale with a simple story line and interesting, colorful
characters. Encourage them to make masks representing the various characters in that story. Practice and perform
a few simple lines, a repetitive chant, or a song related to the story while wearing their masks.
Design masks representing animals, imaginary creatures, or other original characters.
NJ After 3 at Paterson YMCA – Norman S. Weir School
NJ After 3 Director: Ronald C. Cope II
Program leader/teacher: Jacqueline Norman
25
Artists All Around Us!
Objectives
Children explain how cultural influences affect the work of
artists and will identify contributions of people from various
cultural groups.
Children in grades 3-6 observe how art and text are integrated
to tell a story.
Children demonstrate an understanding of the life and work of
an artist by working collaboratively with an artist-in-residence to
create a project using the media and techniques demonstrated.
What Does It Mean?
Artist-in-residence: artist
who works with children
and teachers to enhance
their creative skills over an
extended period of time
Interpersonal
Spatial
National Standards
Reflecting upon and assessing the characteristics
and merits of their work and the work of others
Culture—experiences that provide for the study
of culture and cultural diversity.
Individuals, Groups, and Institutions—
experiences that provide for the study of
interactions among individuals, groups, and
institutions.
Vocabulary List
Printmaking is an ancient art. Naturally, people in diverse
cultures used the materials at hand to make prints. Printmakers
use five basic techniques: monotypes (single impressions),
relief (cut-away surface designs), screen (forcing ink though
mesh stencils), intaglio (acid cut into metal or glass), and
lithography (crayon to repel paint).
For at least 3000 years, the Chinese have been carving
wooden or stone characters (chops) to print on paper or
stamp in clay. The Inuit make two types of prints, one by
carving large slabs of stone and the other by making stencils
with sealskin. The people of Ghana make Adinkra cloth.
They carve calabash sticks, dip them in dye, and press
designs on fabric.
Artist
Artist-in-residence
Author
Collaborate
Culture
Edition
Expertise
Graphic artist
Illustrator
Intaglio
Lithography
Media
Monotype
Musician
Palette
Photographer
Portrait
Printing plate
Printmaking
Relief
Self-portrait
Technique
Resources
Art Fun (Art and Activities for Kids) by Kim Solga,
Kathy Savage-Hubbard, and Rose C. Speicher
Step-by-step instructions for printmaking techniques.
Hands-On Africa: Art Activities for All Ages Featuring
Sub-Saharan Africa by Yvonne Merrill
Explores crafts of indigenous peoples of Africa, many
of whom use common materials in fascinating ways.
Just Like Me: Stories and Self-Portraits by Fourteen
Artists by Harriet Rohmer
Self-portraits of diverse illustrators of children’s books
accompanied by statements about their art and lives.
Smoky Night by Eve Bunting
Caldecott award-winning collages and paintings by David
Diaz depicting the Los Angeles riots.
Girl Scout Troop #25
Napa, California.
Program leader/teacher: Rebecca King
26
Huffman Elementary School
Anchorage, Alaska.
Teacher: Carolyn Diane Melms
21st Century Learning Grant After School
Program at Clearview Elementary School
Bethlehem, Pennsylvania.
Program Grant Supervisor: Linda Henning
Program leader/teacher: Lynn Sosa
Rippled Print
Artist: J. McCracken
Cardboard, tempera paint, paper
9" x 12"
Private Collection.
27
Artists All Around Us!
K-2
3-4
5-6
Suggested
Preparation
and
Discussion
Observe children’s interests and questions to determine what types of artists (weavers, potters, or painters, for
example) best match their curiosity. Ask questions such as “What artists do you know? What kind of art do they
make?” Consider musicians, graphic artists, crafters, photographers, dancers, actors, and other types of visual and
performing artists. Talk about which kinds of arts children enjoy the most and why.
Work with the local arts council to identify artists who are willing and able to share their expertise with young
children. Choose art techniques that are safe and suitable. Interview artists to make certain they can involve children
in hands-on learning. Agree on materials, space, and other accommodations.
Create a K-W-L chart to show what children Know about the arts, what they Want to know, and (later) what they
have Learned. Continue to add to the chart as they explore more about the arts.
Share work by the artist-in-residence in advance. Explore similar art techniques with the children. Generate a list
of questions to ask before each day the artist spends with the group.
Crayola®
Supplies
• Colored Pencils
Other
Materials
• Markers • Model Magic®
• Glue • Paint Brushes • Tempera Paint
• Construction paper • Paper plate for palette • Paper towels • Recycled newspaper
• Water containers • White paper
• Corrugated cardboard
• Utility knives (ADULT USE)
• Modeling tools such as craft sticks or plastic picnic utensils
• White fabric
Set-up/Tips
• Cover painting surface with newspaper. Put a small amount of paint in students’ choices of colors on paper plates
(or other palettes).
• NOTE: A printmaker is the example of an artist-in-residence for this sample lesson.
Process:
Session 1
15-20 min.
1.Together, plan ways to welcome an artist-in-residence to your program. Discuss responsibilities of a host or
Process:
Session 2
15-20 min.
Meet the artist
2.With the student host/hostess, welcome the artist to your program. Have the artist share his/her art with
hostess. Select one person each day to act as host/hostess. Schedule others to help set up the space and/or
materials. Introduce basic information about the artist who will be in-residence. List questions students want
to ask during the initial visit.
students and conduct a question and answer session. Artist gives students a brief explanation about the
project they will work on together.
Detail of Adinkra Cloth ca. 1960
Ashanti people
Ghana
Collection in the Museum of International
Folk Art Museum of New Mexico, Santa Fe.
Photo by Blair Clark
Walt Disney School, Anaheim, California.
Teacher: Sharon St. Clair
28
K-2
Process:
Session 3
20-30 min.
Make cardboard plate
3.Show geometric block print
designs with straight lines.
Children sketch an original
design on corrugated cardboard
such as the example on page 27.
Remind them that the design
will print in reverse.
4.Adult volunteers cut along
the lines with a utility knife.
5.Children peel off piece of the
top layer of cardboard to reveal
ripples in some areas. Flatten
any unwanted ripples.
3-4
Make printing stamp
3.Read Smoky Night. Discuss
the graphic qualities of the
illustrations. Reinforce how
paintings, as well as words,
can tell a story.
4.Look at different types of
stamps and art created with
stamps, such as scrapbooks.
5-6
Make fabric-printing stamp
3.Read Smoky Night. Discuss
the graphic qualities of the
illustrations. Reinforce how
paintings, as well as words,
can tell a story.
4.Look at examples of African
Adinkra cloth and discuss how
the simple shapes represent
parts of a story. Learn about
basic symbols of Adinkra and
invent additional symbols to
create a story. Adinkra cloth
is traditionally printed with
the same design printed in a
block formation. Blocks are
generally defined with black
lines between them.
5.Choose a story for an art collaboration. Students form small groups
to create images that tell the story on paper (grades 3-4) or fabric
(grades 5-6).
6.To make printing stamps with Model Magic modeling compound,
roll thick cylinders to form handles. Flatten one end. Etch in designs
needed to make images from the chosen story. Or add coils or other
shapes to the base of the stamp to make positive imprints. Air-dry
stamps 24 hours.
Process:
Session 4
20-30 min.
Process:
Session 5
20-30 min.
Print
7.Brush paint evenly on printing plate or stamp. Press the plate or stamp firmly and directly onto printing surface.
Lift it directly off.
8. Try printing again right away for a lighter effect. Or reapply paint in one or more areas and print again.
Experiment with different effects. Use two colors, make multiple prints, varying angles slightly, or try other
inventive techniques. Air-dry prints.
Display, describe, and express appreciation
9. Add black lines to delineate blocks on Adinkra cloth. Children mat their most effective work on contrasting
construction paper for display. Air-dry the glue.
10. Younger children identify the geometric shapes in each other’s work. Older students describe the stories in
their prints to younger children.
11. Make, sign, and send a creative group thank-you note to the visiting artist.
Assessment
• Children assist with visit of artist and participate in discussions.
• Children succeed in creating art using media and techniques inspired by the artist-in-residence. Older children
clearly explain the story that inspired their work to younger children. Their explanations reflect how images and
text work together and indicate any cultural influences on the artists.
they learned.
Extensions
If children with special needs have difficulty creating their own printing plates or stamps, suggest that they
use rubber stamps for printing and sequence the images together to create a story.
Incorporate children’s prints into collages, banners, and other displays that feature creations made with an
artist-in-residence.
Encourage students to act as artists-in-residence with other small groups of children in the program.
Challenge gifted writers to create both art and text for stories and publish them in book form.
Invite students to use the coil technique to create Model Magic® stamps with their names or other designs.
Print T-shirts, tote bags, or even hats with acrylic paints.
29
Tributes on Tiles
Objectives
Children research and select symbols, words, and designs to
graphically represent themselves, their families, communities,
or states in a 3-D tile sculpture.
Children explore the medium of clay through tile making,
experimenting with relief building, texture impressions, and
object embedment.
Bodily-kinesthetic
Interpersonal
Intrapersonal
National Standards
Understanding and applying media, techniques,
and processes
Choosing and evaluating a range of subject
matter, symbols, and ideas
Grades K-2
Individual Development and Identity—
experiences that provide for the study of
individual development and identity.
Grades 3-4
Individuals, Groups, and Institutions—experiences that provide for the study of interactions
among individuals, groups, and institutions.
Grades 5-6
People, Places, and Environments—experiences
that provide for the study of people, place,
and environments.
What Does It Mean?
Bas-relief: short 3-D
projections on a surface, as
in sculpture or weaving
Commemorate: to honor
or remember with a ceremony or other tribute
Embed: press items into
wet modeling compound
to add dimension and
interest
Impress: gently pushing
an object into or against
another object to leave
behind an impression
Installation: a contemporary style of exhibiting
media within a 3-D
environment, indoors
and outdoors, often in
large scale
Vocabulary List
The United States Department of the Interior maintains a
National Register of Historic Places. This is an official list of
cultural resources deemed worthy of preservation. Currently
there are more than 80,000 listings.
A listing on the National Register is an honor to the
community. The owners of the buildings listed may be
eligible for tax breaks and preservation funding. Buildings
that have been moved or reconstructed, or places that have
become significant only within the last 50 years, usually
do not qualify for National Register listing.
Properties currently on the National Register include
historic villages, churches, bridges, factories, and schools,
as well as the homes of noted authors, artists, or other
historic persons. Sites are as varied as the Brooklyn Bridge,
the Chicago and North Western Railroad Depot, and the
Dexter Avenue Baptist Church in Montgomery, Alabama.
One unusual listing is Grandma Prisbey’s Bottle Village, a
folk art site in Simi Valley, California.
Resources
1,000 Tiles: Ten Centuries of Decorative Ceramics
by Gordon Lang
Beautiful color photographs. Tiles through time and around
the globe with detailed descriptions, history, and crafting
techniques.
Landmarks of the American Revolution by Gary Nash
Explores history through place. Rich primary documentation
of sites listed on the National Register. Written by historians
for children in grades 5 and up.
30
•Social studies vocabulary
Archeological
Landmark
Architecture
Marker
Commemorative
Memorial
Historic
Memory
Honor
National Register
Homage
Plaque
•Art terms
Bas-relief
Border
Ceramic
Clay
Preservation
Record
Significance
Structure
Craft
Design
Form
Glaze
Impression
Imprint
Installation
Mural
Pattern
Relief
Shape
Symbol
Technique
Texture
Tile
Tribute
Artwork created by students form
Fort Worth, Texas.
31
Tributes on Tiles
K-2
3-4
5-6
Suggested
Preparation
and
Discussion
Discuss the meaning of the word commemorate. What commemorative markers, plaques, or tiles are visible in
the community? Who has visited a place that honors a person or event? Point out that some memorials are largescale and elaborate such as the Washington Monument, while others are simple and handmade.
What are some characteristics of clay that make it a good medium for making memorial markers?
Create a varied display of tiles as well as photographic reproductions.
Crayola®
Supplies
• Air-Dry Clay • Colored Pencils • Paint Brushes • Scissors • Watercolors
Other
Materials
• Collage materials (such as leaves, ribbons, buttons)
• Modeling tools (such as craft sticks, plastic dinnerware, and wooden toothpicks) • Paper plates
• Recycled newspaper • Recycled plastic foam produce trays
• Textured items (such as sink mats, marker caps, other washable materials) • Water containers
• White paper
Set-up/Tips
• Cover art surface with recycled newspaper. Sculpt and paint on paper plates for portability.
• Create tiles in a uniform size if they are to be exhibited in an installation.
• Make a slip for joining pieces together by mixing water and clay to the consistency of heavy cream.
20th Century Nassos,
Paradissi, Rodos-Hellas
Architectural Tile
Glazed ceramic
4" x 4"
Private Collection.
20th Century Decorative Tile
Glazed ceramic
6" x 6"
Private Collection.
20th Century Mexican Architectural Tiles
Glazed ceramic
8" x 8"
Private Collection.
32
20th Century Irana
Architectural Tile
6" x 6"
Private Collection.
K-2
Process:
Session 1
20-30 min.
Develop family tile design
1.Invite children to create tile
designs representing themselves
or their families. Brainstorm
ideas. Is there someone in
particular they’d like to honor?
What symbols could stand for
certain interests or activities?
What items could they press
into or embed in their tiles
to add texture and enhance
meaning?
3-4
Develop community tile design
designs representing their
community. Brainstorm ideas.
What are some things the community is known for? What sites
are interesting? What people
would they like to honor?
Compile a diverse cross-section
of subjects. What symbols could
represent them? What items
could they press into or embed
in their tiles to add texture and
enhance meaning?
5-6
Develop state tile design
designs representing their state.
What visual symbols might they
use to represent certain state
events, sites, qualities, or famous
people? What items could they
press into or embed in their
tiles to add texture and enhance
meaning?
2.Sketch tile shape (at least 4 inches square) and design on paper.
Process:
Session 2
30-45 min.
Create tiles
3.Roll out or press a large handful of clay into a slab more than ¼ inch thick. Use modeling tools to cut tile shape
as planned in sketch.
4.To create a raised, bas-relief tile, sculpt and layer small pieces of clay on the base. Score adjoining surfaces to
adhere larger pieces. Apply slip when necessary to secure joints.
5.Use modeling tools to make indentations and patterns on tile surface. Impress textured items into the wet clay
as desired. Embed items to enhance the tile’s meaning. Air-dry the tiles at least 3 days.
Process:
Session 3
20-30 min.
Color tiles
6.Add details and drama with watercolor paint. Use less water for more intense colors. Air-dry the paint.
Process:
Session 4
30-45 min.
Evaluate and plan installation
7.Children explain the meaning of their tiles to each other. Discuss techniques and images that most successfully
Assessment
Extensions
communicate meaning.
8.Discuss display ideas and prepare group exhibit.
• Did children graphically portray
aspects of self or family?
• Did children experiment with
various clay techniques?
• Did children listen to each
other’s presentations?
• Did children clearly articulate the reasons behind their choices for
commemoration? Did they listen to each other’s explanations?
• Did children select symbols that clearly defined the intended meanings?
• Did children incorporate a variety of clay and painting techniques?
Offer the tile installation to a community center or other facility. Work with a ceramist to install tiles together
in a mural.
Encourage students with strong research skills to check the National Register of Historic Places to see listings for
local sites. Visit a few if possible or provide a list for families.
Ask students to suggest local sites to honor. Encourage interested students to research these sites with their
families and find out how to apply for a listing on the National Register of Historic Places.
Some students with touch sensitivities may prefer to use Crayola Model Magic® modeling compound. It is less
messy, dries quicker, is lighter weight, and can be painted.
As a kinesthetic learning experience, invite students to try to identify shapes on bas-relief tiles while blindfolded.
Learn more about the process of firing clay tiles.
33
Mystery Creatures From…?
Objectives
Children exhibit an understanding of structure and function by
designing imaginary, mix-and-match creatures with the physical
characteristics necessary to survive in a specific environment.
Children demonstrate an understanding of the relationship
between an organism and its environment by describing the
characteristics that are necessary for its survival.
Children demonstrate an understanding of the fantasy genre by
using visualization techniques to create original, imaginary beings.
Children match written descriptions of imaginary creatures
with their visual representations.
Linguistic
Naturalist
What Does It Mean?
Visualization: process
Spatial
of recalling or imagining
mental pictures
National Standards
Uses knowledge of structures and functions
Reflects upon and assesses the characteristics and merits of his/
her work and the work of others
Science Standards
Life Science
Grades K-4
Characteristics of organisms
Grades 5-6
Diversity and adaptation of organisms
Students read a wide range of literature from many periods in
many genres to build an understanding of the many dimensions
of human experience.
Students adjust their use of spoken, written, and visual language
to communicate effectively with a variety of audiences and for
different purposes.
Vocabulary List
Visualizations (guided imagery explorations) can be used informally
with children to help them focus.These strategies are delightful ways
for children to stretch their imaginations and think creatively outside
the box.They have also been found useful in therapeutic settings.
Generally, visualizations are done either in a quiet space or
with soothing music. Children should find a comfortable place,
close their eyes, and relax. The adult leader asks open-ended
questions or suggests ideas to help children imagine something
slightly beyond, but related to, their life experiences. After
children imagine the shape and color of their ideas, they are
better prepared to translate the concepts into drawing, writing,
sculpture, or other creative experiences.
Resources
Classifying Living Things: How Organisms Are Related
from Scholastic Books
Published in collaboration with the Indianapolis Zoo. Clear,
scientific explanations accompanied by vivid, close-up photographs.
Dream Animals by James Hillman
Beautiful, haunting paintings of animals that visit in dreams.
Appeals to all ages.
Eric Carle’s Dragons, Dragons and Other Creatures
That Never Were by Eric Carle & Laura Whipple
Mythical creatures rendered in true Eric Carle style with
accompanying verse. For all elementary levels.
Flanimals by Ricky Gervais
Children ages 9 to 12 enjoy these silly, imaginative creatures.
Text includes clever wordplay.
34
• Content vocabulary
Classification
Classify
Creatures
Critters
Dragon
Fanciful
Fantasy
Fiction
Imaginary
Imaginative
Make-up
Mystery
Mythology
Non-fiction
Outer space
Visualization
• Art terms
Animated
Bold
Colorful
Detailed
Expressive
Fluid
Lifelike
Line
Textured
Vibrant
Vivid
Abrakadoodle
Moorestown, New Jersey.
Program Director/
leader/teacher: Linda Schaeffer
Fort Worth, Texas.
35
Mystery Creatures From…?
K-2
3-4
5-6
Suggested
Preparation
and
Discussion
Collect and display books and other materials with the theme of “Creatures and Their Features.” Discuss
characteristics that help animals survive in their particular environments. Why are female birds less colorful
than their mates? Why does a praying mantis look like a green leaf? Why do chameleons change colors?
Why do giraffes have long necks?
Share pictures of unusual (but real) animals or sea creatures, and discuss possible reasons for certain characteristics
(examples: okapi, tarsier, parrotfish).
Read myths and legends about fantasy creatures such as the minotaur, Medusa, unicorns, and the Loch
Ness Monster.
Invite students to envision a new environment. Do a simple visualization with the group to enhance imaginative
thinking. Ask guiding questions about temperature, geography, plant life, and water. Then have students imagine a
creature who might live there. Ask questions about size, shape, and color. What body parts does the creature have?
How does it eat? sleep? move? communicate? What specific characteristics help it survive in its environment?
Crayola®
Supplies
• Colored Pencils • Crayons • School Glue • Scissors
Other
Materials
• Recycled file folders • Ribbon • Rulers • White paper
Oaxacan Wood Sculpture
Artist unknown
Painted and carved wood
16" x 12" x 12"
Private Collection.
Indonesian Monkey Puppet
Artist unknown
Ikat woven fabric, carved and painted wood
15" x 12" x 5"
Private Collection.
36
K-2
Process:
Session 1
20-30 min.
Create mix-and-match cards
1.Measure, mark, and cut
recycled file folders into six
cards about 4 inches square.
Divide cards into three sets to
make two heads, two torsos,
and two sets of legs.
2.Sketch parts of animals
imagined during the visualization. Draw the pictures so any
combination of heads, torsos,
and legs will fit together.
3.Outline each creature with
bold crayon colors.
3-4
5-6
Create mix-and-match books
1.Individually or with a partner, children mark half of a recycled file
folder into three equal columns. Divide the columns into three rows
(head at top, torso in center, legs at bottom). Rows can be different
widths to accommodate body parts. Demonstrate how to cut on the
lines between the head and torso rows and the torso and leg rows
UP TO the center column.
2.Sketch parts of animals imagined during the visualization in each of
the 18 sections (both sides). Fold the sections over in different ways
to make sure they all match up.
3.Outline each creature with bold crayon colors. Show different seasonal
coats as appropriate (grades 5-6). Add features, realistic or imaginary,
such as eyes and appendages. Vary crayon pressure for shading and
movement. Remove the wrappers and use the side of the crayons to
make texture rubbings. Try crosshatching to add dimension.
Process:
Session 2
15-20 min.
Design habitats
4.Color in the rest of each section with the animal’s environment
Process:
Session 3
20-30 min.
Classify creatures
5.Children match three cards (grades K-4) or flip sections (grades 5-6) to pick one animal. Imagine that scientists
that was visualized. Design detailed habitats, fictitious or familiar,
for the creatures.
Add seasonal details
4.Color in columns to show
seasonal changes in the animal’s
environment. Show the environment as visualized and as it
changes during the year.
just discovered this creature. To classify the animal and its relationship to other living things, write a list of
characteristics that describe the creature. Is it cuddly or vicious? Is it a mammal, fish, amphibian, or reptile?
What is its skeleton like or is it an invertebrate? What is the texture of its skin or fur? Is it warm-or cold-blooded?
What environmental characteristics are necessary for its survival? How do its features change with the seasons
(grades 5-6)?
6.Write a poem, song, or detailed caption to describe the creature. Use words from the classification
characteristics list.
7.Mix up the animals and their descriptions in a bulletin board display. Children and visitors link matching
images and descriptions with ribbons.
Assessment
• Did children participate in guided visualization? Did they display unique and active imaginations in their designs?
• Did the habitats reflect out-of-the-box thinking? Did older children include seasonal changes?
• Did children use increasingly sophisticated vocabulary and concepts to describe their animals’ characteristics?
• Did children interact with the display, matching others’ images and descriptions?
Extensions
Encourage children to interview their parents and grandparents to find out about the imaginary creatures that
were popular when they were young. Are they still popular today? What creatures have replaced them?
Older children who enjoy the Harry Potter books might start a book club to investigate where J.K. Rowling got
ideas for the creatures in her books.
Begin a comic book series based on the mystery creatures created by the group.
Children who have difficulty expressing themselves in writing and younger children whose literacy is emerging
might enjoy telling a story with the cards or puppets.
Students with good technological skills research the Loch Ness Monster or other interesting creatures. Hold a
“Creature Feature” session during which researchers tell classmates about their findings.
37
Circular Geometry: Mandalas
Objectives
Children identify meaningful themes and important ideas to
represent in symbols and color in their mandalas.
Children draw and identify symbolic geometric shapes using
accurate mathematical terminology to describe them.
Children in grades 3 to 6 demonstrate an understanding of
how to use a compass and protractor.
Children practice spatial reasoning skills while experimenting with various arrangements of geometric shapes to create a
visual arts project in the style of a traditional mandala.
Children demonstrate an awareness of symbolic meaning
when drawing and describing their mandalas.
Intrapersonal
Spatial
Spatial
National Standards
Using knowledge of structures and functions
other disciplines
Geometry
Specify location sand describe spatial relationships using coordinate geometry and other
representational systems
Connections
Recognize and apply mathematics in contexts
outside of mathematics
What Does It Mean?
Mandala: a geometric
design that traditionally is
symbolic of the universe
Radial design: design fans
out from the center point
of the object
Resources
A mandala is a geometric design originally created by Buddhist
or Hindu monks as an aid to meditation. It is symbolic of the
universe and has spiritual significance. Originally, mandalas
were made by monks working in groups of four with each
monk creating one quarter of the whole mandala. The word
mandala is derived from the root manda, which means
essence, and the suffix la, meaning container. Therefore, this
circular artwork is an attempt to create a container of essence.
Mandala-like radial designs naturally occur in nature, too.
Symbols used in mandalas are culture-specific. Most mandalas
depict the harmony and balance of the universe and include
a simple dot or small circle in the center. A larger geometric
shape surrounds it, representing the universe and our place
in it. These are some well-known cultural variations.
•The traditional Hindu mandala is a square divided into
smaller squares where the placement of the smaller
squares can represent the physical layout of a temple.
•Tibetan Buddhists create both circular and rectangular
mandalas, often on pieces of cloth. The shapes usually
represent the teachings of the Buddha, the circle of life,
and other spiritual journeys. Other types of mandalas
created by Tibetan Buddhists include sand mandalas.
Their symbols represent the “wheel of time” reflecting
the cycles of the universe.
•The Navajo people also create sand paintings in healing
rituals. They often use similar elements of geometric
shapes within others representing blessings from the gods.
•Both Hinduism and Buddhism also create the yantra,
which is a complex combination of geometric figures
that visually represent a mantra or prayer.
Classic Mandalas: 74 Designs From the World’s
Traditions to Color & Meditate by Heike Owusu
Designs represent religions and cultures from around
the globe. Each is accompanied by a brief explanation
of its symbolism.
38
One Grain of Rice: A Mathematical Folktale by Demi
A classic Indian folktale. A villain is outsmarted by a girl
who uses her math skills. For grades 1 to 4.
Paths to Peace: People Who Changed the World
by Jane Breskin Zalben
Aid to discussions of meditation and its connection to
daily living. For grades 4-8. Includes accounts from Gandhi,
The Rev. Dr. Martin Luther King, Jr., and Elie Wiesel.
Vocabulary List
Balance
Buddhist
Center
Circle
Circular
Concentric
Design
Folktale
Geometric
Hindu
Mandala
Meaningful
Monk
Outline
Parallel
Perpendicular
Radial
Repetition
Represent
Rotate
Sacred
Square
Symbol
Symmetrical
Fort Worth, Texas.
39
Circular Geometry: Mandalas
K-2
3-4
5-6
Suggested
Preparation
and
Discussion
Research the history and design of mandalas. Identify the meanings of symbols used on them. Brainstorm what
authentic aspects of mandala design children could incorporate into their original artworks. Encourage the use of
geometry terminology.
Read and talk about relevant themes children could represent in their mandalas, such as kindness, curiosity, or
friendship. Brainstorm symbols that could represent these important ideas. Ask what thoughts or feelings they
associate with certain colors.
Experiment with the mandala process and create an example. Alter the classic process as needed.
Collect and display visual examples of mandalas from several different cultures and regions.
Crayola®
Supplies
• Glue
Other
Materials
• Scissors
• Colored Pencils • Markers
• Coffee filters
• Construction paper
• Recycled file folders
• Compasses • Protractors • Rulers
• Common objects for tracing shapes • Paper
Set-up/Tips
• Review proper use of compasses and protractors.
• Demonstrate how to rotate the circles when designing each quadrant,
so that all designs face the center dot.
Sun Design Pendant
ca. 1900s
Marvin Luca, Hopi
Silver
2 1/2" x 2 1/2" with 18" chain
Private Collection.
Graphic radial designs.
Mandala Geometry
Artist: Betsy Moerder
Crayola Color Explosion™
8" x 10"
Private Collection.
40
K-2
3-4
5-6
Process:
Session 1
10-15 min.
Chose a theme and symbols for the mandala
1.Choose four important ideas to represent in the mandala. Sketch shapes that could symbolize these ideas.
Process:
Session 2
20-30 min.
Design the mandala
2.Fold a coffee filter in half and
List colors to add to the meaning of each symbol.
then in half again. Where these
two fold lines cross is the center
of the circle. Place a colored dot
there. All parts of the mandala
design should face this dot.
3.Cut a small square out of
recycled file folder. Center the
square on the filter so that the
corner points meet the fold
lines. Trace around the square,
leaving openings for the
mandala “doors.”
4.Trace geometric objects to
create interesting designs and
meaningful symbols.
Design the mandala
2.Measure to find the center of the paper. Using a compass, draw the
largest circle possible. Place a colored dot in the center.
3.Using a ruler and a protractor, draw a square in the center of the
circle. Leave a blank space in the center of each side to represent the
mandala’s doorways.
4.Create geometric designs on the mandala with a ruler, protractor,
compass, and by tracing around common objects.
Process:
Session 3
20-30 min.
Color the mandala
5.Color the designs. Glue mandala
Process:
Session 4
15-20 min.
Explain symbol meanings
6.Children write about the symbols used in their designs. Provide prompts if needed by asking what a specific
Assessment
• Children successfully complete a radial design in the style of a mandala using some of the traditional processes.
Extensions
to construction paper. Air-dry
the glue.
Color the mandala
5.Color the designs. Cut out the mandala.
shape could be in the real world and what that could signify or represent. Consider the significance of colors
as well as shapes and designs.
They describe the shapes using accurate mathematical terminology. Mandalas designed by students in grades
3 to 6 show evidence of proper use of protractor and compass.
• Children explain the symbolic use of shapes and colors.
they learned.
Children with emerging literacy skills or those with certain special needs could explain the symbolic significance
of their mandalas orally.
Children skilled in technology make computer-generated mandalas with an accompanying list of explanations of
the symbols they used/created.
Use Crayola Model Magic® modeling compound to create a bas-relief mandala on cardboard with coils, balls,
and slabs. Add decorative craft items such as beads, yarn, and feathers if desired. Older children might create
wearable mandala medallions.
Younger children and some with special needs could work in groups on a large-scale mandala on a paper
tablecloth, for example.
Use this project as an introductory experience before studying a particular geographic region/culture. Research
the meaning of colors and shapes in different cultures. Compare and contrast mandala-like designs made by various
groups of people around the globe.
Show students how to gently dab a damp brush over the surface of their mandalas so the edges of the colors
are softened.
Draw mandala designs on white or black Crayola Color Explosion™ paper and see how the colors are all a
surprise! Outline symbols with the black marker or glitter glue.
41
Join Hands to Celebrate Diversity
Objectives
Children explore ideas about racial, ethnic, and social
groups and how they interrelate with each other and share
similar traditions.
Children incorporate existing and/or original symbols into
Hamsa designs to reflect an appreciation of other cultures
and individual people.
Interpersonal
Spatial
Intrapersonal
Spatial
National Standards
Cultural—experiences that provide for the study
Global connections—experiences that provide
for the study of global connections and
interdependence.
Resources
Mediterranean cultures have used the hand as a symbol
since ancient times. Jewish households likely were among
the first to use a hand- shaped symbol called the Hamsa,
or Hand of Miriam, as a protective amulet. This tradition
predates the Muslim use of the Hamsa, called the Hand of
Fatima, by at least 1000 years. Among Arabs, the Hamsa is
a traditional and popular amulet for magical protection
from the evil eye. The Hamsa includes five digits and
symbolizes the Creator’s protective hand.
Hamsas, hung on walls, are very common in Morocco,
Israel, and the Middle East. The use of the Hamsa is part
of Jewish and Israeli folklore and superstition, but it has
nothing to do with Judaism. Many people today display
or wear Hamsas as ornaments, without giving any thought
to their supposed magical properties.
Many modern societies have adopted the handshake as
a greeting and as a way of sealing a promise. Two clasped
hands also symbolize friendship and goodwill. We clap
our hands to show appreciation and “lend a helping hand”
when assistance is needed.
Hand paintings are one of the most common elements
of ancient rock art appearing around the world in places
such as Mexico, Borneo, France, Argentina, and Australia.
One famous site is Cueva de las Manos (Cave of the Hands)
in Santa Cruz, Argentina, where ancient people used pipes
made of bones to spray paint on cave walls blocked by
their hands. These powerful images connect us in a very
personal way to fellow human beings who lived thousands
of years ago.
Character Matters: How to Help Our Children Develop
Good Judgment by Thomas Lickona
Lists 10 traits that make up good character. Provides
suggestions for building a strong alliance between parents
and schools.
42
Dictionary of Symbolism: Cultural Icons and the Meanings
Behind Them by Hans Biedermann
More than 2000 terms related to symbolism as it appears in
art, literature, dreams, and religion.
Handbook of Designs and Devices by Clarence P. Hornung
More than 1,800 images including many geometric shapes
as well as cultural icons from around the globe.
Project Mulberry by Linda Sue Park
Ages 9 to 12 enjoy this story about a multicultural
friendship. Told from the viewpoint of a Korean American
girl who is concerned about her mother’s prejudice against
African Americans.
Vocabulary List
Acceptance
Amulet
Ancient
Behavior
Character
Cultural
Decorative
Design
Diversity
Folklore
Hamsa
Illustration
Image
Judgment
Multicultural
Ornament
Pattern
Positive
Prejudice
Racial
Social problem
Solution
Superstition
Symbol
Tradition
Traits
Fitzgerald Elementary School
Arlington, Texas.
Teacher: Karen Mullen
43
Join Hands to Celebrate Diversity
K-2
3-4
5-6
Suggested
Preparation
and
Discussion
Ask children to generate a list of words and symbols—such as hearts, hands, eyes, stars, circles, and suns—that
stand for positive character traits.
With children, reflect on questions such as: How do you lend a helping hand? Why do others treat us with respect
or disrespect? How can you look past appearance to see the person underneath? How would the world be if people
were all the same?
Together, think about how people are sometimes judged by their skin color, nationality, clothes, body shape, or
looks. Behaving like this is prejudicial.
Explain that making a Hamsa is an interesting way to encourage all of us to treat people with respect and to reach
out to one another with kindness. We can erase prejudice and celebrate each other!
Collect and display reproductions of Hamsa designs that reflect a variety of decorative symbols.
Crayola®
Supplies
• Crayons • Multicultural Markers • Scissors
Other
Materials
• Hole punch • Paper • Recycled file folders • Ribbon or yarn
Set-up/Tips
• Encourage children to spread their fingers wide or draw their hands to a slightly larger scale.
Let’s
All Join
Hands
Crossing our hearts and hoping for a better
world is a good start. When students join
hands and work together to understand and
appreciate human diversity, however, they
can help shape a more colorful, creative, and
peaceful place in which to live.
44
K-2
Process:
Session 1
15-20 min.
Process:
Session 2
15-20 min.
Assessment
3-4
5-6
Create a Hamsa
1.Trace each other’s hands on file folders. Use Multicultural Markers to create a realistic skin color. Cut out.
2.Decorate the Hamsa with symbols, shapes, colors, spirals, or radial designs, keeping the theme of a celebration
of diversity in mind.
3.On the back of the hand write affirmations about the diversity of people in the community, country,
and/or world.
Join hands & celebrate!
4.Punch two holes in each hand. Connect hands with ribbon. Stretch out the joined hands. Read the statements
on the backs. Hang the hands as one long artwork made from smaller pieces, all expressing appreciation of
cultural diversity!
• Children contribute with increasing depths of understanding to discussions about the benefits of cultural diversity.
• Children successfully trace their hands and decorated them with appropriate symbols.
• Children participate in joining, reading, and display the messages on the hands.
they learned.
Extensions
Invite children to share something about their families’ origins if they wish. Use a map to locate their countries
of origin. Encourage children to recognize that because they have different backgrounds, they have much to share
with one another.
Ask student volunteers to research needs within the community and design a helping hands service project in
which all can participate.
Students with a gift for research might wish to investigate symbols with special significance for various cultural
groups and create a display of these.
Make certain that students whose manual dexterity is not well developed, receive help cutting out their hands,
so their projects can be as much a part of the display as their classmates’.
After several groups of children have completed this project, join all the hands and display them in a large area
such as a hallway.
Invite a music specialist to teach songs about diversity. Perform them for the community at an unveiling of
the hands.
NJ After 3 at El Club del Barrio—Lady Liberty Charter School
Program leader/teacher: Seouvan Rodriquez
45
Dried Model Magic® Creations
Objectives
Children contribute to a healthy environment by reducing
waste through the recycling and reuse of discarded materials.
Children exhibit creativity by turning “mistakes” into
creative art projects.
What Does It Mean?
Naturalist
Spatial
National Standards
Understanding and applying media, techniques,
and processes
Science Standard
Science in Personal and Social Perspectives
Populations, resources, and environments
Assemblage: unified
sculpture that combines
unrelated objects
Installation: a contemporary style of exhibiting
media within a 3-D
environment, indoors
and outdoors, often in
large scale
Health Education Standard #8
Students will demonstrate the ability to advocate
for personal, family, and community health.
Vocabulary List
Mark Twain said “Name the greatest of all inventors…Accident.”
There have been many inventions that started out as mistakes.
Some of our favorite foods such as Coca Cola®, cornflakes, and
chocolate chip cookies were all invented by mistake.
One of America’s most beloved toys, Silly Putty® was another
failed invention. James Wright, an engineer for General Electric,
was trying to invent a synthetic rubber when he realized
what fun people could have with his invention that stretches,
bounces, and copies pictures. It was first called Nutty Putty.
Harvard professor and artist, Svetlana Boym found her
technique for making art through an impatient accident as
she pulled a digital photograph out of the color printer while
it was printing. The image was smeared and distorted and
her artistic vision was born.
• E nvironmental vocabulary
Ecology
Mistake
Environment
Recycle
Landfill
Redo
Materials
Reuse
•A
rt terms
Assemblage
Collage
Color
Design
Form
Mosaic
Pattern
Shape
Solutions
Trash
Sketch
Texture
Usable art
Wearable art
Resources
Recycled Crafts Box by Laura Martin
Collection of 40 projects to make with recycled materials.
A “trash timeline” explains what happens in a landfill.
For children in grades 3 to 7.
Recycle! by Gail Gibbons
Fact-filled book stressing the importance of conserving
resources. Cartoon illustrations make use of primary
colors and shapes. For grades 2 to 4.
Regina’s Big Mistake by Marissa Moss
Children in early elementary grades enjoy this story
about making the most of one’s mistakes. Illustrated
in the style of a young artist.
46
Model Magic® Assemblage
Artist: Karen Jenei
Chenille stems, found objects, Model Magic
Modeling Compound, ribbon, thread
10" x 14"
Private Collection.
Doyle Elementary School
Doylestown, Pennsylvania.
Teacher: Sarah Sterner
47
Dried Model Magic® Creations
K-2
Suggested
Preparation
and
Discussion
3-4
5-6
Prepare a display of art made from recycled materials such as rag rugs, mosaics made from broken dishes, purses
made from license plates, or vinyl records turned into bowls. Include photographs of such art as well.
Ask children how they respond when they make a “mistake” on an art project. How many throw it away and start
over? How many have ended up with something new and different from what they set out to make? Brainstorm
ideas about what can be done with mistakes and/or recycled materials.
Invite children to discuss ways they recycle in their everyday lives. How important is recycling to them and
their families?
Explain that children will make
a pencil or paper clip cup, vase for
artificial flowers, or other vessel to
hold dried objects. They make
wonderful gifts!
Talk about different types of
jewelry worn by men and women.
What images are used on these
accessories? Invite them to think
of jewelry they might like to make
for themselves or others.
Look at examples of assemblage
art. Well-known artists such as
Duchamp, Picasso, Nevelson, and
Johns used this art form. Discuss
why artists might use similar
techniques.
Crayola®
Supplies
• Glitter Glue (optional) • Glue • Markers • Model Magic® • Paint • Paint Brushes • Scissors
Other
Materials
• Recycled plastic containers
• Colored Pencils
• Tape
• Thread, yarn, or fishing line
• Collage materials
• Fabric (optional)
• Ribbon or heavy yarn
• Yarn needle or compass • Pin backings (optional)
• Recycled newspaper • Water containers
Set-up/Tips
• Save dried Model Magic® pieces for recycled projects such as this, or air-dry fresh compound. Use colored
modeling compound or mix marker colors into white before drying it.
• Cover painting area with newspaper.
• Ask families to save clean, recycled
containers such as yogurt cups or
plastic water bottles.
• Ask adult volunteers to be available to drill holes in dried Model Magic
pieces using the point of a compass, a yarn needle, or pointed scissors.
Beaded Necklaces
Artist unknown
Formed resin, cord
1" x 1" x 1" forms on 22" cord
Private Collection.
Model Magic Mask
Artist: Karen Jenei
Cardboard, buttons, plastic lacing
6" x 8"
Private Collection.
Model Magic Necklace
Artist: J. McCracken
Model Magic, silk ribbon
10' x 18"
Private Collection.
48
K-2
Process:
Session 1
20-30 min.
3-4
5-6
Prepare compound
1.Children tear chunks of dried Model Magic compound into various sized pieces.
Create vessels
2.Choose pieces of dried com-
pound with a theme in mind,
such as color, texture, or pattern.
3.Dip chunks into glue and press
them on the container. Hold in
place until secure. Encourage
children to consider color,
shape, and overall design as
they add pieces to their project.
4.Continue adding pieces
until container is completely
covered. Air-dry the glue.
Design jewelry
2.Sketch a design for recycled
Model Magic jewelry. Consider
pattern, shape, form, and color.
3.Select pieces for a pin or for
stringing as a necklace or
pendant. Ask an adult to make
holes as needed.
4.Glue pieces to pin backing.
Or thread yarn through holes.
Knot either side of pieces to
hold them in place.
Create assemblage
2.Work individually, with a
partner, or in a small group.
Select wide ribbon, heavy yarn,
or fabric to use as a base for an
assemblage. Weave ribbon or
yarn, or hang from supports
as needed.
3.Sketch a design incorporating
dried Model Magic pieces and
other collage materials. Consider
line, form, texture, shape, and
color in creating the design.
4.Ask an adult to make holes
in dried pieces as needed for
threading. Attach Model Magic
pieces and collage items to the
base with glue. Air-dry the glue.
Process:
Session 2
15-20 min.
Add details
5.Paint some or all parts of project. Air-dry paint.
6.Use Glitter Glue to add sparkle if desired. Air-dry glue.
Process:
Session 3
15-20 min.
7.Keep containers or give them
Assessment
• Did children express concern for the environment in their discussions? Have they become more familiar with ways
as gifts.
7.Finish necklaces by taping the
ends closed.
7.Hang installation in an area for
others to appreciate.
in which to recycle common items?
• Did children use effective planning and problem solving strategies to transform “trash” into a valued item?
• Do projects demonstrate attention to such artistic elements as color, form, and design? Are projects more elaborate
than previous artwork?
Extensions
Role-play ways for children to turn their mistakes or unexpected situations into something of value. Group makes
suggestions for alternative responses.
Invite children who enjoy research to investigate the stories behind “mistake” inventions and share them with
the group.
To encourage creativity and cooperative problem solving, assemble bags of assorted recycled items. Form groups
of mixed ages and ability levels and give each group a bag. Challenge students to work together within their groups
to create “junk” sculptures. Display work in a Junk Sculpture Gallery. Hold an opening. Students act as docents to talk
about their creations with visitors.
Do a treasure hunt to find items that are made completely from recycled materials such as plastic planks or tote
bags. Involve families in the adventure!
Try papermaking, another craft that turns a recycled item (such as brown paper bags) into something of value,
handmade paper.
Make other dried Model Magic creations such as mosaics. Visit www.Crayola.com for more recycled art ideas.
49
Travel With a Troupe in a Trunk
Objectives
Children learn about the lives of traveling performers and the
many facets of theatrical production.
Children create a theme, script, characters, costumes, props,
and stage sets for a troupe of traveling puppets and take their
show “on the road.”
What Does It Mean?
Troupe: from French,
a group of theatrical
performers
Interpersonal
Spatial
National Standards
Choosing and evaluating a
range of subject matter, symbols, and ideas
Understanding the visual
arts in relation to history
and cultures
Culture—experiences that provide for the study of culture and cultural diversity.
People, Places, and Environments—experiences that provide for the study of people, places
and environments.
Students read a wide range of literature from many periods in many genres to build an understanding
of the many dimensions of human experience.
Students develop an understanding of and respect of diversity in language use, patterns, and dialect
across cultures, ethnic groups, geographic regions, and social roles.
Resources
Travelers and traders have used trunks, suitcases, boxes, and
other containers to haul items around the world for generations.
The ancient Egyptians used trunks to haul their belongings.
More recently, the trunks traveling on stagecoaches in North
America were flat-topped because they packed well. The
trunks were usually made with canvas or metal over hardwood
staves (narrow strips) and had trays inside to help organize the
contents. Round-top trunks were constructed in a similar way
but with a humped top, perhaps to prevent them from being
stacked on top of one another and being damaged.
Steamer trunks were used to carry clothing and other
essential possessions when traveling by ship. These personal
trunks were about half the size of containers used to hold
cargo on steamships and could fit in passenger cabins with
ease. Wardrobe trunks (or traveling trunks) were very large and
heavy. These stood on end for packing or open use. One side of
the trunk often held drawers, while the other side had space for
hanging garments.Trunks have been named after famous people
(Jenny Lind trunk) and famous places (Saratoga trunk).
“Hope chests” were popular with young women through the
middle of the 20th century, serving as a place to collect items
over the childhood years that a bride would take with her to
her new home. Brides in Central Asia still bring elaborately
decorated trunks to their married lives.
Kids Take the Stage: Helping Young People Discover
the Creative Outlet of Theater by Lenka Peterson,
Dan O’Connor, and Robert Coles
Sophisticated, accessible approach to drama. Includes basic
acting lessons, improvisational exercises, and quotations
from famous actors to inspire young thespians.
50
Shakespeare for Kids: His Life and Times: 21 Activities
by Colleen Aagesen
A mixture of theatrical facts and activities with historical
references. Grades 4 to 6.
When the Circus Came to Town by Polly Horvath
A humorous story for middle elementary-age children about
the interaction between townspeople and circus people.
Vocabulary List
Actors
Carney
Costumes
Circus
Marionette
Pack
Perform
Performance
Play
Props
Puppets
Set
Ship
Shipping
Show
Stage
Suitcase
Theater
Theatre
Travel
Troubadour
Troupe
Trunk
Bauerschlag Elementary School
League City, Texas.
Teacher: Sherry White
51
Travel With a Troupe in a Trunk
K-2
3-4
5-6
Suggested
Preparation
and
Discussion
Display various types of puppets: hand, finger, stick, glove, marionette, paper bag, sock, rod, cone, and others.
Ask children to bring in puppets they are willing to show or share. Try out several types.
With children, imagine what it’s like to live “on the road.” Do any children have a parent who travels frequently?
What things do they pack? What difficulties have they encountered? What performers travel frequently? What kinds
of things must they take with them?
Hypothesize about what a troupe of traveling players might need to take with them. Read a story about troupes
on the road.
Read stories that might be interesting to perform, especially stories about living in other cultures or time periods.
Crayola®
Supplies
• Colored Pencils • Glitter Glue • Markers • Model Magic® • School Glue • Scissors
Other
Materials
• Decorative craft items • Oak tag • Paper • Recycled boxes with lids • Recycled file folders
Set-up/Tips
• Ask families to save recycled boxes with lids for use as trunks. Request packing materials, clean plastic containers,
fabric, and various other recycled materials for puppet making and props.
• Children’s trunks could double as puppet stages.
Traveling troupe –
Prague, Czech Republic
Photo by R. De Long
League City, Texas.
52
K-2
Process:
Session 1
20-30 min.
3-4
5-6
Form troupes
1.Form pairs and determine a theme for each troupe (a circus? musicians? puppeteers? theater?). Create
characters and determine a troupe leader. Select a name for the group.
2.Record plans for the group. How many characters will there be? What will their costumes look like? How
will the stage sets be designed? What equipment needs to be transported? What will the troupe’s traveling
trunk look like?
Process:
Session 2
20-30 min.
Develop characters
3.Create a stick puppet for the lead actor. Form a Model Magic compound head and torso. Insert a craft stick into
the torso for a handle. Add fabric scraps, decorated papers, and additional modeling material for costuming.
4.Shape Model Magic finger puppets for the remaining characters. Add colorful hats, feathery boas, or other
accessories to create personality. Air-dry puppets for at least 24 hours.
Process:
Session 3
30-40 min.
Assessment
Create sets, props, and trunk
5.To make backdrops, cut a recycled file folder along its original fold. Cut each piece in half, lengthwise.
Fold pieces in thirds so they stand on their own when opened. Design both sides to make four backdrops.
Decorate each one to reflect scene changes for the show.
6.Design props from construction paper, Model Magic compound, and other craft materials.
7.What equipment is needed to travel with the troupe? Find a suitable recycled box and lid. Cover with paper.
Decorate the box to look like a trunk, shipping box, or suitcase. Design a troupe logo and put it on the trunk.
Use color, line, and pattern to make a striking and identifiable logo. Create travel stickers to cover the
trunk’s surface.
8.Write an interesting script with a plot and dialogue. Rehearse and perform!
• Did each troupe focus on a coherent theme? Do costumes, props, and backdrops accurately reflect that theme?
• Did children take into account several aspects of their troupe’s traveling show? Were sets and props prepared
with imagination and care? Does each trunk have a logo reflecting the troupe’s theme? Does all necessary
equipment fit into the trunk?
• Do the scripts stretch children’s use of their spelling and writing skills? Are the plot and dialogue connected?
Do all characters have roles in the play?
• Did partners share equally in the tasks and work cooperatively?
Extensions
Children who enjoy creative writing might write a diary from the point of view of one of the troupe’s characters,
capturing the joys and hardships of the transient lifestyle.
Provide opportunities for children with special needs to shine in this activity. Be sure everyone has a role that
makes use of his/her unique talents.
Ask local performers to share their talents and stories with the children.
Attend community theater events. Take backstage tours.
Suggest this activity as a family project in which everyone can take part.
Visit www.Crayola.com to see how to make many different kinds of puppets.
Children from Hillcrest Academy
for Child Development,
Wescosville, Pennsylvania,
performing with stage sets, props,
and puppets that are part of their
"Troupe in a Trunk."
53
A Comic Scroll Through Time
Objectives
Children read and/or listen to stories and respond to the
narrative text by retelling the sequence of events with appropriate references to setting and characters.
Students demonstrate their understanding of a favorite story
by translating the events into a sequence of drawings on a
scroll using speech bubbles to narrate it.
Interpersonal
Linguistic
Spatial
Spatial
National Standards
Making connections between visual arts and other disciplines
Students use spoken, written, and visual language to accomplish
their own purposes (e.g., for learning, enjoyment, persuasion,
and the exchange of information).
Vocabulary List
Comic books are at least as old as movies. In search of
new ways of graphic and visual communication and
expression, Richard Fenton Outcalt’s creation, The
Yellow Kid, was credited with the start of comics in
1896. Outcalt introduced a new element: the dialogue
balloon, a space where he wrote what the characters
said, and that pointed to their mouths with a kind
of tail.
In the first decades of this art form’s life, comic
books were funny. Some early creations are among
the best stories in comic book history: Little Nemo
in Slumberland by Winsor McCay, Mutt & Jeff by
Bud Fisher, Popeye by E. Segar, and Krazy Kat by
George Herriman.
Resources
20th Century Children’s Book Treasury selected
by Janet Schulman
More than 40 favorite children’s stories for most
elementary grades.
So, You Wanna be a Comic Book Artist? How to
Create Your Own Superheroes, Sell Your Strip, and
Become Famous! by Philip Amara and Pop Mhan
Practical introduction to creative and production
aspects of work in the field of comic arts. Illustrated
with line drawings and fun trivia. Includes interviews
with several experts.
Walt Disney’s Comics in Color illustrated
by Carl Barks
A series that includes several classic Disney comic
books reprinted in full. A classic collection from a
classic era.
54
Action
Animate
Animation
Author
Beginning
Character
Comic book
Comics
Design
Details
Dialogue
Drawing
Ending
Expression
Frame
Graphic
Illustration
Illustrator
Middle
Narration
Patterns
Perspective
Plot
Point of view
Scenes
Scroll
Sequence
Setting
Speech bubble
Storyboard
Storyline
Visual
Olde Sawmill Elementary School
Dublin, Ohio.
Abrakadoodle Director: Jeff Houck
Program leader/teacher: Jan Hall
55
A Comic Scroll Through Time
K-2
Suggested
Preparation
and
Discussion
3-4
5-6
Invite children to share their favorite comic book drawings depicting a sequence of events. Ask questions
such as: Why is a comic strip different from other drawings? How is a comic strip similar to a written story?
How is it different?
Identify children’s favorite books. Choose one to use as an example. Work together, on in small groups, to
determine what parts of the story to place in separate boxes in a comic book. Complete a sample project to
inspire children.
Practice listening skills through
storytelling. Encourage children to
“picture” the stories in their minds.
Share details.
Encourage children to read award-winning books on their grade level
such as A Finnish Immigrant by William Durbin, Esperanza Rising by
Pam Munoz Ryan, The Negro Leagues, Birmingham, Alabama, 1948 by
Walter Dean Myers, or others.
Crayola®
Supplies
• Glue • Markers • Scissors
Other
Materials
• Brown paper grocery bags • Paper • Paper clips • Ribbon or yarn • Rulers • White drawing paper
Process:
Session 1
20-30 min.
Make the scroll
1.Cut open a brown paper grocery bag. Lay it flat. Cut out two 6- x 24-inch rectangles. Roll each rectangle to
• Colored Pencils
create two tight 6-inch–long cylinders. Glue the edges. Use paper clips to keep the paper rolled. Air-dry the glue.
2.Cut two sheets of drawing paper in half lengthwise. Glue the four pieces together to create a long strip.
On one side, add designs to decorate the back of the scroll. Use interesting colors, lines, shapes, and patterns.
Turn the paper over.
3.Glue one cylinder to each of the short ends of the paper strip. Hold with paper clips until the scroll air-dries.
Muddle Valley Comic
Artist: Gene Mater
Ink on paper
2" x 12"
Collection of the Artist.
56
K-2
Process:
Session 2
20-30 min.
Illustrate the story
4.Choose 5 or 6 major events
from a story, including something from the beginning and
the end.
5.Cut paper into 4- x 7-inch
pieces. Draw pictures of
major events. Show action
and setting details!
6.Arrange pictures in sequence.
Glue them to the scroll. Add
speech bubbles to help tell
the story.
7.Roll both ends of scroll toward
the center. Tie with ribbon
or yarn.
3-4
5-6
Illustrate the story
4.Choose 7 or 8 major events from the story, including something from
the beginning, middle, and end. Roll out the entire scroll. Measure and
mark the number of spaces needed to show these scenes.
5.Illustrate events and characters sequentially. Include setting details.
Outline story boxes and figures to make them stand out.
6.Add captions and/or speech bubbles to help tell the story.
7.Roll both ends of scroll toward the center. Tie closed with ribbon
or yarn.
Process:
Session 3
15-20 min.
Share the stories
8.Exchange scrolls. In small groups, children read the stories aloud and summarize the illustrations. Check that
Assessment
• Story illustrations cover all major events and are arranged in proper sequence on the scrolls. The scrolls include
the scrolls match the plots of the stories.
characters and settings. Older and more skilled children’s comics are increasingly elaborate and detailed.
• Cartoon-style drawings are simple, bold, and colorful. Children stretch their illustrating skills to draw in increasingly
sophisticated ways. Students use both visual and written language to retell their stories. The captions and dialogue
suit the illustrations.
• Scrolls are well constructed and roll easily to reveal the cartoon sequences.
• Students engage in their group discussions and offer constructive comments about the scrolls they review.
they learned.
Extensions
Follow up this project with similar ones based on historic timelines, events in the students’ own lives, life cycles
of animals, and other suitable material.
When working with groups of young children or students with special needs, create a group scroll based on
a story shared by the whole class. Discuss the story events. Each child illustrates one of them. Children work
together to arrange the illustrations in order and glue them to the scroll.
Encourage children with a gift for cartooning to create original story scrolls or comic books. Provide opportunities
for them to share their work with classmates.
Visit a television studio to see how storyboards are used. Write a play, design storyboards, sets, and costumes,
and produce it for an audience.
Recycled cardboard rolls can be used for the ends of the scrolls. Ask families to save paper towel and gift-wrap rolls.
Encourage children who are interested in cartooning careers to research the topic and report back to the group.
Invite a local cartoonist to talk with the group.
57
Probe Far Into Space
Objectives
Children practice scientific inquiry in their investigation of the
purpose, history, and construction requirements for space probes.
Students use creative problem-solving skills to design and construct models of space probes capable of surviving the rigors of
space travel and collecting and returning valuable information.
Linguistic
Spatial
What Does It Mean?
Space probe: an unstaffed
research craft sent into
outer space to gather
information
Naturalist
National Standards
Problem Solving
Apply and adapt a variety of appropriate strategies to solve
problems
Geometry
Use visualization, spatial reasoning, and geometric modeling to
solve problems
Science Standards
Science as Inquiry
Understanding about scientific inquiry
Earth and Space Science
Objects in the sky
Students employ a wide range of strategies as they write and
use different writing process elements appropriately to
communicate with different audiences for a variety of purposes.
their own purposes.
Vocabulary List
A space probe is an unstaffed research craft sent into outer
space to gather information. Some are deployed to take closeup photographs. Others are sent to search for missing crafts.
Some gather information as they fly by an extraterrestrial
object, some actually land, and others go into orbit.
Lunar probes from the United States include the Pioneer 4,
Lunar Orbiters, and the Surveyor series. The Surveyor series
was deployed primarily to see if an Apollo lunar module could
land on the Earth’s moon without sinking into the surface.
Some scientists feared that the moon was covered with great
layers of dust that would not support a heavy landing vehicle.
Between 1966 and 1968, Surveyor was successful in proving
that the lunar surface was strong enough to hold up a spacecraft. Other space probes, such as the Viking mission, added
knowledge about the color of Mars.
The Voyager 1 space probe is the most distant (from the
Earth) human-made object in space today. It is 100 times more
distant from the Sun than the Earth is. It was launched 30 years
ago and is expected to continue to probe for another 20 years.
Resources
Gizmos & Gadgets: Creating Science Contraptions That
Work & Knowing Why by Jill Frankel Hauser
Ideas for building with recycled junk. Projects are based
on scientific principles. Children ages 10 and up need little
adult assistance.
Me & My Place in Space by Joan Sweeny
An elementary introduction to the solar system for pre-K
through 2nd grade. Includes colorful crayon drawings.
Moon Hunters: NASA’s Remarkable Expeditions to the
Ends of the Solar Systems by Jeffrey Kluger
Describes engineering challenges of NASA’s space exploration
and how they were overcome. Also explains spacecraft
instruments and systems. Ages 9 to 12.
58
• Science vocabulary
Astronauts
Earth
Engineers
Exploration
Explore
Extraterrestrial
Galaxy
Interstellar
Mission
Moon
NASA
Planets
Probe
Scientists
Solar
Solar system
Space
Spacecraft
Sun
Travel
Universe
Voyage
• Art terms
Balance
Construction
Design
Diagram
Durability
Function
Illustration
Label
Materials
Media
Stability
Structure
Symmetry
Texture
Weight
League City, Texas.
59
Probe Far Into Space
K-2
3-4
5-6
Suggested
Preparation
and
Discussion
Display information about space exploration and past and present probes sent by countries into space. Invite
children to share their knowledge on the topic.
Delve into the scientific challenges of designing a space probe. How would it need to be constructed to assure
survival in space? What equipment is needed to gather and transmit information? Consider issues such as take off
and landing equipment, energy sources, communication devices, protection from asteroids, and other ideas.
Challenge students to think about how they would design a space probe. Display at least one sample craft to
encourage divergent thinking.
Invite students to suggest research questions a space probe might be designed to answer.
Crayola®
Supplies
• Colored Pencils • Markers • Model Magic® • School Glue • Scissors
Other
Materials
• Drawing paper • Modeling tools • Plastic drinking straws • Recycled boxes, file folders, plastic containers
• Recycled newspaper
Set-up/Tips
• Ask families to collect clean, safe recycled materials for this project.
• Cover art surface with recycled newspaper.
• To strengthen Model Magic parts, make a glaze of equal parts School Glue and water. Cover with a paintbrush.
Air-dry.
Space Station—Always Under Construction
Artist: Michael R. O’Brien
Crayola Model Magic Fusion™,
magnets, recycled forms,
Crayola Squeezables™ 3-D Paints
10" x 10" x 10"
Private Collection.
Astronaut Replica
Artist: Danielle Hanzel
Chenille stems, Model Magic Fusion
Modeling Compound,
recycled forms
10" x 4" x 4"
Private Collection.
60
K-2
Process:
Session 1
20-30 min.
Process:
Session 2
15-20 min.
Process:
Session 3
20-30 min.
3-4
5-6
Construct probe carriage and body
1.Select materials to construct space probes. These are some ideas for building them.
2.Use recycled forms to build the probe’s base/carriage. To make wheels, flatten Model Magic balls into disks.
Cut straws for axles.
3.Cut and color paper to cover probe base. Add details. Glue to base. Create additional components as needed.
Label probe parts
4.Cut recycled file folder into tent
labels. Fold labels in half. Write
and/or draw the name and
function of each part. Stand
labels next to probe.
Write operating manual
4.Fold sheets of paper in half to form a booklet. Label parts and describe
their functions. Write directions for operating the probe. Illustrate with
detailed step-by-step pictures.
Display probes
5.Display probes. Stage an exhibition with “design engineers” standing by to demonstrate and explain the
workings of their probes.
Assessment
• Did children use a variety of creative problem-solving skills to design and construct their probes?
• Do probe designs reflect an understanding of the challenges and issues of space exploration?
• Are children able to clearly explain the structures and functions of various aspects of their space probes?
Extensions
Read aloud several short science fiction selections. Have some parts of these fiction stories “come true” since
being written? Encourage children to project into the future. What are some things we still wish to learn about
space? What do children think their children and grandchildren might know that we don’t? How might space
exploration affect the lives of future generations?
Students with a special interest in space might wish to do further research on a specific aspect of space
exploration, career possibilities, rocket design, experiments conducted in space, influence of weather on
launches, and other issues.
Adopt a NASA mission to follow closely. Monitor its progress.
Children with special needs may enjoy working together as design teams to produce their space probes.
Stafford Primary School
West Linn, Oregon.
Abrakadoodle Directors: Dan and Stephanie Hascall
Program leader/teacher: Kelsey Newman
61
Measure Magnificently: Sculpture on the Scales
Objectives
Children use nonstandard units of measure to compare/contrast
the weights of different objects describing results with the terms
greater than, lesser than, or equal to. They sort objects according
to weight, arranging them in order from heaviest to lightest.
Children in grades 3-6 estimate and measure the weights
of objects using standard measurement tools. They create bar
graphs showing weight comparisons. They will describe the
difference between weight and mass.
Children create sculptures using various modeling compounds
to help them understand and compare weight measurements and
the difference between mass and weight.
What Does It Mean?
U.S. Customary Units:
Non-metric units of measure used in the United
States (pounds, ounces)
Linguistic
Spatial
National Standards
Understands and applies media, techniques,
and processes
Measurement
Understands and applies basic and advanced
properties of the concepts of measurement
Science Standards
Science as Inquiry
Understanding about scientific inquiry
Physical Science
Properties and change of properties in matter
Vocabulary List
Weights and measures are some of the first tools used by
sculptors. Early units of measure were based on parts of the
body and people’s surroundings. These weights and measures
were not very consistent. For instance, seeds, stones, and
people’s hands vary in size. As civilizations developed, it became
necessary to make weights and measures standard so people
were not cheated and everyone got consistent amounts.
Weights and measures usually mean individual units, such
as pound or inch. The system of weights and measure is the
collection of units and how they relate to each other. Most of
the world uses Le Systeme International d’Unites (International
System of Units, SI, or the metric system) The United States
uses a customary system and is the only major industrialized
country that does not require the metric system.
Use this list to explore new
vocabulary, create idea webs, or
brainstorm related subjects.
Resources
I Can Measure Weights at Any Rate by Tracy Kompelien
Measuring for children in preschool through third grade.
Make Sculptures by King Solga
Step-by-step instruction for making sculptures from clay, paper
maché, and household items. For children in grades 3 through 6.
Millions to Measure by David Schwartz
Lively illustrations by Steven Kellogg. Helps children in
grades 1 through 5 understand the development of standard
measurement units.
Secret Treasures and Magical Measures: Adventures in
Measuring: Time, Temperature, Length, Weight, Volume,
Angles, Shape and Money by Chris Kensler
Entertaining adventures where children learn by uncovering secrets.
Story of Sculpture by Francesca Romei
An overview of the history of sculpture from the Stone Age through
the 20th century. For ages 9-12. Includes non-Western pieces.
62
Comparison
Grams
Heavy
Kilograms
Light
Mass
Measure
Measurement
Metric
Ounces
Pounds
Scale
Sculptor
Sculpture
Standard
System
Weigh
Weight
NJ After 3 at Boys and Girls Club
of Hudson County,
Jersey City, New Jeresey
Program leader/teacher: Jon Tilli
NJ After 3 at Boys and Girls Club
of Hudson County,
Jersey City, New Jersey.
Program leader/teacher: Jon Tilli
63
Measure Magnificently: Sculpture on the Scales
K-2
3-4
5-6
Suggested
Preparation
and
Discussion
Display reproductions of sculptures by August Rodin, Michelangelo, and other sculptors. Look at examples of
sculptures around the community. If possible, provide small sculptures for children to handle so they can become
familiar with differences and similarities in dimensions and weights of the objects.
Discuss the weights of different sculptural materials such as metal, glass, ceramic, fabric, and wood. Examine
samples of these and other materials. What would influence the use of a material by a sculptor for a work of art?
Crayola®
Supplies
• Air-Dry Clay • Colored Pencils • Markers • Model Magic® • School Glue
Other
Materials
• Modeling tools • Paper
Set-up/Tips
• Balance scale
• Postal scale or similar scale with U.S. customary units of measure
• Join parts of sculpture together with School Glue if necessary.
• Add clean aquarium gravel or other small, heavy, safe objects to modeling medium for further weight comparisons
if desired.
• Choose a scale that can measure very light weights such as a postage scale.
Process:
Session 1
20-30 min.
Create sculptures
1.Form teams of three or four children. Provide each team with portions of Model Magic®
compound and Air-Dry Clay. The portions of the two modeling compounds should be the
same size within each team but different from team to team.
2.Ask each team to create two sculptures identical in size, shape, and proportion.
Make one from Model Magic material and one from Air-Dry Clay.
3.Air-dry the sculptures at least 3 days.
Recycled Sculpture
Artist: Bill Skrips
Found objects assemblage,
paint, metal, wood
24" x 16" x 5"
Private Collection.
St. Theresa School
Hellertown, Pennsylvania.
64
K-2
Process:
Session 2
15-20 min.
Weigh sculptures
4.Decorate the sculptures with
markers if desired.
5.Using a balance scale, weigh
each sculpture using a nonstandard unit of measure such as
small stones or marbles. Record
the weights.
Process:
Session 3
20-30 min.
Assessment
Compare sculptures
6.Ask teams if their two sculptures
have equal weights or if one
weight is greater than or less
than the other. Ask them to
consider why the weights
are different.
7.Students compare their sculptures with those of other teams.
Which ones weigh the most?
Which weigh the least?
8.Working together as a full
group, arrange the sculptures in
order according to weight from
heaviest to the lightest. If two
sculptures have equal weights,
set them side by side in the line.
3-4
5-6
Weigh sculptures
4.Decorate sculptures with markers if desired.
5.One student from each team estimates which of the two sculptures
is heaviest by holding one in each hand. Record the prediction. Weigh
each sculpture. Record the weight. Students draw conclusions about
mass and weight. What effect does the use of different materials have
on the weight of similarly sized objects?
Compare sculptures
6.Gather all sculptures into a group. Students select one sculpture that
they feel is of average weight. Arrange other sculptures into groups
representing those they think are greater than, equal to, or less than
the weight of the first sculpture. What criteria do they use for their
judgments?
7.Test the children’s predictions by checking and comparing the weights
each team previously recorded.
8.Students create bar graphs showing the weight comparisons.
• Did each team produce two sculptures approximately equal in size and shape?
• Did students compare sculptures according to estimated weights? Could they support their predictions with
scientific reasoning?
• Did children demonstrate an ability to use measuring tools to accurately determine the actual weights of
their sculptures?
• Were children able to draw conclusions from their experiments?
Extensions
Convert the recorded weights of this project from the U.S. customary system to the metric system. As a group,
prepare an instruction sheet to help people who are unfamiliar with the metric system to better understand it.
Invite advanced students who are interested in research to find and present information about Newton and his
theories. Ask students what they think will happen if two different objects such as a feather and an apple were
dropped simultaneously. Share predictions and compare results. Encourage interested students to design other
experiments centered on these theories.
Hold a contest to make the lightest sculpture and the heaviest one. Draw up a list of parameters regarding size,
materials, and other variables.
Investigate the work of light sculptor Dan Flavin (American, 1933-1996) and the glass sculpture of Dale Chihuly
(American, 1941-). Estimate the weights of their sculptures.
Invite students with advanced mathematical skills to continue to compare and generalize. Calculate median and
mean weights of the two sets of objects. What was the difference in weights between the heaviest and the lightest
sculptures? Create graphs to visually represent various conclusions regarding this experiment.
Help younger students and those with special needs to understand the idea of weight comparison by initially
providing objects with distinctly different weights. Gradually work toward comparing objects with more
similar weights.
65
Faces That Tell Stories
Objectives
Students interview a family member and choose from a range
of ideas to use in drawing an original portrait of that person.
Students incorporate written language into their visual representation to express their own personal ideas about various
beliefs and traditions in their own families.
Interpersonal
Spatial
Linguistic
Spatial
National Standards
Choosing and evaluating a range of subject matter, symbols,
and ideas
People, Places, and Environments—experiences that provide for
the study of people, places, and environments.
(e.g., conventions, style, vocabulary) to communicate effectively
with a variety of audiences and for different purposes.
Resources
Myths are extraordinary tales and legends about people, places,
and things from the ancient or even modern world. Often they
cannot be proved or disproved. Myths can be stories of gods
or goddesses, heroes and mythical beasts, wizards and warriors,
or they can also be urban legends, half-truths about people or
places, or even fictitious tales that have been handed down
for generations.
Whatever the time or context, myths can be found in
cultures around the world. Read myths and legends from
Greece, Rome, and Egypt, as well as Norse and Celtic lands.
Explore myths from Persia, India, China, and the Americas.
Some famous myths are about Prometheus, Pandora,
Pygmalion, Odysseus, Aladdin, King Arthur, and Robin Hood.
Portraits and self-portraits have long been a favorite subject
of artists. By changing processes to alter the elements (color,
texture, form, line, space, value) and principles (emphasis,
pattern, rhythm, balance, proportion, unity) of a basic artwork
of a face, artists can drastically alter the style of art. Written
words have been incorporated into visual art from the ancient
times to modern day. A variety of works from ancient Egypt to
Magritte to literature illustrations are all great examples.
American Indian Myths and Legends by Richard Erdoes
and Alfonso Ortiz
160 tales from 80 tribal groups with 100 drawings. A rich
view into Native American mythology and heritage.
NJ After 3 at Family Center
After School Program
Julie MacLeod
66
Classic Myths to Read Aloud: The Great Stories of Greek and
Roman Mythology, Specially Arranged for Children Five and
Up by an Educational Expert by William Russell
Collection of common Greek and Roman myths. To be read
aloud or individually.
Illustrated Book of Myths by Neil Philip and Nilesh Mistry
Myths are organized around common themes in this global
resource. Includes stories from Aborigine, African, Celtic,
and other cultures.
Myths and Legends: Artists’ Workshop by Penny King
and Clare Roundhill
Six different stories, some myths and some legends, with
a themed art project related each of the stories. Simple
explanations about the stories and guidance to interpret them.
Portraits: Artists’ Workshop by Penny King and Clare Roundhill
One book in an informational and fun series. Focuses on
techniques that artist’s use in portraits and self-portraits.
Lots of illustrations and interesting project ideas.
Vocabulary List
Accents
Ancient
Character
Culture
Drawing
Dry-brush technique
Expression
Fable
Face
Facial
Features
Fiction
Guidelines
Highlights
Illustration
Interview
Language
Legend
Mask
Modern
Myth
Painting
Portrait
Proportion
Self-portrait
Shading techniques
Sketch
Story
Truth
Value
Watercolor wash
NJ After 3 at Family Center
After School Program
Julie MacLeod
67
Faces That Tell Stories
K-2
Suggested
Preparation
and
Discussion
3-4
5-6
Read and discuss myths, legends, and fables from different cultures and time periods.
Ask students to share funny family stories to help them see the similarities between these stories and myths or legends.
Together, make a web/diagram of
events in one or two family stories.
Research myths, legends, and fables from different cultures and time
periods. Lead discussions that compare/contrast different time periods
and different cultures.
Children identify a myth or legend about an interesting character. Plot
some of the major ideas about that character on a web.
Help children develop a list of questions to ask that are more likely to reveal an interesting story or insights about
that person’s life. Encourage students to carefully study and perhaps sketch the person’s face during the interview.
After the interview, create a web of positive words that describe the person.
Work with children to identify a family member or another person to interview for this project.
Crayola®
Supplies
• Erasable Colored Pencils • Paint Brushes • Watercolor Paints
Other
Materials
• Paper towels • Recycled newspaper • Watercolor paper • Water containers • White paper
Set-up/Tips
• Consider collaborating with a local home for the aged or senior center to assure that all children have someone
to interview.
• Suggest that children use photographs for further reference in drawing portraits.
• Demonstrate minimal shading by showing areas of shadow values with a slightly darker color. Leave some areas
very light to show the highlights. Add darkest accents last (for line between lips, nostrils, lines around eyes).
• Cover painting surface with newspaper. When painting with watercolors, blot with paper towels if too much
water is used. Caution against painting several areas next to each other with lots of water.
• Thoroughly clean brush with water and blot it on a paper towel before changing colors.
Portraits, China
2001
Photos by J. McCracken
Portraits, Uzbekistan
2004
Photos by J. McCracken
68
K-2
Process:
Session 1
20-30 min.
3-4
5-6
Sketch the portrait
1.Review the ideas on the personal web. Suggest children make an initial sketch of their chosen person.
2.Demonstrate these portrait-drawing techniques. Remind children to LIGHTLY sketch the proportioned portrait.
• draw oval for face
• divide oval in half vertically and horizontally
• draw eye on mid-mark in proportion (about 5 eyes fit across a face)
• draw horizontal line mid-way between eye line and chin
• draw a suggestion of nose on this line (as wide as centers of both eyes)
• draw horizontal line mid-way between nose line and chin
• draw mouth line (shadow created between lips) on this line (as wide as outside marks of eyes)
• extend eye and mouth lines to edge of oval
• draw ears to almost fill these areas (start lower than eye line and extend up almost to lip line).
3.Look at how hair grows out of the skin on the skull represented by the oval. Demonstrate several types of hair
to draw, always with separate lines that begin on that oval line and continue down in the front (longer for bangs)
and outside and down the outside of the head.
4.Compare/contrast original sketches and this one, noting which one looks more like the person. Discuss and
demonstrate minimal shading and adding darker accents.
5.Erase all guidelines.
Process:
Session 2
20-30 min.
Paint the portrait
6.Demonstrate different techniques with watercolor paints such as a wash and dry brush for details. Add color
Process:
Session 3
20-30 min.
Embellish the portrait
7.In the portrait background, write positive, descriptive words about the person. Use the ideas on the web.
Assessment
• Children chose an appropriate character and created a word web with positive characteristics of their character.
• Children included all facial features and attempted to draw portraits with correct proportions.
• Children added color to their work with different watercolor techniques.
• Children added written words to their portrait to reinforce positive traits of their character.
to the proportioned line drawings. Leave a white paper outline near the person to keep colors from running
together. Air-dry the portrait.
Experiment with different types/colors of lettering and various placements to add to their portrait and not
deter from the drawing.
they learned.
Extensions
Gifted students research the stories behind famous portraits and their artists. How were the portraits made?
What did the portrayed person think of the work? Where are these portraits hanging today?
Exhibit portraits. If possible, invite those portrayed to attend. Invite viewers to match portraits and word webs.
Record interviews. Put together a radio broadcast or television production of family stories.
Write detailed family stories, retell myths, or invent legends. Copy and bind together as class book.
Draw self-portraits. Write essays or poems to accompany them.
Students with motor challenges may be more successful if they use assistive technology to do their drawings.
69
Place-to-Place Pop-Ups
Objectives
Children use reading and research skills to learn about a
culture focusing on the art, books, and geographic movements
of large groups of people within the United States.
Children demonstrate an understanding of the function of art
in relation to history and cultures by creating visual pop-ups
based on Jacob Lawrence’s “Migration Series” of art.
Interpersonal
Spatial
Linguistic
Spatial
National Standards
and ideas
Understanding the visual arts in relation to history and cultures
Students apply a wide range of strategies to comprehend,
interpret, evaluate, and appreciate texts. They draw on their
prior experience, their interactions with other readers and
writers, their knowledge of word meaning and of other texts,
their word identification strategies, and their understanding of
textual features (e.g., sound-letter correspondence, sentence
structure, context, graphics).
Time, Continuity, and Change—Experiences that provide for the
study of the ways human beings view themselves in and over time
People, Places, and Environments—Experiences that provide for
the study of people, places, and environments
Individuals, Groups, and Institutions—Experiences that provide
for the study of interactions among individuals, groups, and
institutions
Resources
Jacob Lawrence (1917-2000) started experimenting with
tempera paints at an after-school program when he was
listening to African-American history lectures at libraries in
Harlem in New York City. His dedication to art was obvious
at a very young age, earning him support from prominent
African American artists such as Augusta Savage. He won
the Easel Project, which paid him $23.86 per week for
two paintings every 6 weeks. Museums and gallery owners
courted him as soon as he showed his work publicly. By age
30, he was considered America’s foremost African American
artist. He eventually moved to Seattle to become a distinguished art professor and mentor. Jacob Lawrence painted
pictures that tell stories about people’s lives, triumphs, and
struggles. The Black Renaissance and Depression receive
the most attention in Lawrence’s work.
Romare Bearden’s vibrant, cinematic, realistic, and
anecdotal assemblage pictures also attract young people.
His familiar photomontages of Harlem faces still have the
power to move people.
The lives and careers of people like Lawrence and
Bearden, which often involved overcoming racial barriers,
are portrayed against the backdrop of artistic, social, and
political events.
The Great Migration: An American Story by Jacob Lawrence
Account of the northward movement of African Americans
during the early 1900s. Illustrated through Lawrence’s paintings.
70
Jacob Lawrence (Getting to Know the World’s Greatest Artists)
by Mike Venezia
Black-and-white photographs and full-color reproductions
of paintings illustrate Lawrence’s biography. Venezia focuses
on events in Lawrence’s life that affect his art.
Romare Bearden: Collage of Memories by Jan Greenberg
Introduction to Bearden’s collages with large color images.
Biographical information included along with explanatory
text about the process Bearden uses in his art.
Vocabulary List
Assemblage
Collage
Contemporary
Cultures
Decorative
Design
Employment
Equal
History
Illustration
Industrial
Inspiration
Interpret
Migration
Perspectives
Photomontage
Political events
Portrait
Racial
Social events
Storyteller
Triumph/struggle
Unequal
Curlew Creek Elementary School
Palm Harbor, Florida.
Teacher: Nancy Rhoads
Riverside Middle School
Fort Worth, Texas.
Program leader/teacher: Mary Copeland
71
Place-to-Place Pop-Ups
K-2
3-4
5-6
Suggested
Preparation
and
Discussion
Ask children to find reproductions of the works of African American artists, such as Jacob Lawrence’s “Migration
Series,” as well as Joshua Johnston, James VanDerZee, William Johnson, Romare Bearden’s collage art, and Faith
Ringgold’s fabric story art.
Explain how Lawrence painted the “Migration Series” in 1940 as a means of telling the story of the African
American migration from the rural South in the early part of the 20th century to the industrial cities of the North
in search of employment.
Explain that each child will make a pop-up to explain to others what part of the “Migration Series” impressed or
inspired them the most. Create and share an example of the type of project they will make.
Display examples of masks and pictures of masks from different parts of the world, various time periods, and those
used for a range of purposes. Discuss materials used to make them.
Children each choose a situation in which a feeling can be portrayed in a unique mask.
Crayola®
Supplies
• Colored Pencils • Crayons • Glitter Glue • School Glue • Scissors
Other
Materials
• Oak tag • Rulers • White drawing paper
Set-up/Tips
• Encourage families to collect examples of local history and fine art wherever they go. Postcards and small prints
Process:
Session 1
20-30 min.
Process:
Session 2
30-40 min.
72
are inexpensive sources of inspiration.
• Make pop-up samples in various stages to demonstrate how the books are constructed.
Learn about one African American artist
1.Look carefully at reproductions of Jacob Lawrence’s “Migration Series.” Each child selects one work in the series.
Read more about the events portrayed to better understand their effects on real people.
2.Write the reasons for selecting the piece. Were children impressed by the color? the drama? the history behind
the painting? Encourage them to proofread and correct spelling.
Create a pop-up book
3.Cut tag paper into a 9- x 18-inch
sheet. Fold it in half. Unfold
it flat.
4.Outline the most important
object in the scene, extending
it across both sides of the fold.
5.To make the pop-up part,
carefully cut along the top and
bottom lines of the object. Be
careful not to cut the sides.
Create a reverse-fold on the
object so that it pops out from
the background.
6.Open the pop-up page
completely. Add details and
color to the picture.
7.Cut white drawing paper into a
9- x 18-inch sheet. Turn the oak
tag over. Glue the outer edges
EXCEPT the pop-up section.
Carefully lay drawing paper
over the glue and smooth.
Air-dry the glue.
Create a pop-up book
3.Cut tag paper into a 9- x 18-inch sheet. Fold it in half. Unfold it flat.
Illustrate an inspiring event from the “Migration Series” art to fill
the page.
4.To make the pop-up section, cut drawing paper into a piece 10" wide
and approximately 5" high. Fold and score each end to create 1/2" tabs,
making the paper 9" wide. Draw a line dividing the paper into two
unequal segments (see diagram). Fold paper along this line. Illustrate
a section of the event to match or add to the first drawing.
5.Fold under the tabs on the drawing paper. Glue the tabs. Place the
pop-up on the background to match the original drawing. Carefully
close the pop-up so the paper and oak tag fold in opposite directions.
Gently apply pressure until the glue air-dries.
A and B are not equal
C and D are not equal
Flaps are glued to
surface of C and D
K-2
3-4
5-6
Process:
Session 3
20-30 min.
Complete the cover
8.Fold the “book” so the pop-up is
Assessment
• Children actively participated in discussions and the search for samples of African American art.
• Children created pop-up as directed. They included clear, correctly written explanations for their choices.
inside. Illustrate the front cover
with the name of the art and
decorative designs. On the back
cover, write reasons for selecting the scene. Add sparkle with
Glitter Glue. Air-dry the glue
before opening and folding the
pop-up out.
Complete the cover
6.Illustrate the front cover with the title of the work. Write reasons for
selecting the scene on the back. Add sparkle with Glitter Glue. Air-dry
the glue before handling.
they learned.
Extensions
Students with special needs can create a pop-up effect inside an oak tag cover with accordion-folded strips of
paper glued to the back of a flat picture.
Create the interior pop-up as directed for K-2 without covers. Glue several together and make one cover to
create a class pop-up book.
Children with strong artistic skills may want to each create their own books incorporating several pop-up
techniques.
Repeat a similar project with other history, science, or social studies lessons.
Explore different methods to create pop-up art.
Antique Pop Up Cards
Artist unknown
Printed paper
5" x 7" x 2"
Private Collection.
73
Poised for a Performance
Objectives
Students demonstrate their understanding of story development by working together to create the script for a stage play
in which three or more actors resolve a problem in a specific
time and place.
Children work cooperatively to design costumes, stage sets,
and props for a play.
Children rehearse and produce a play for an audience. They
prepare a program and make all arrangements for the event.
What Does It Mean?
Improvisational
theater: extemporaneous
acting without a script
Bodily-kinesthetic
Interpersonal
Linguistic
Spatial
National Standards
to communicate effectively with a variety of audiences and for
different purposes.
Students participate as knowledgeable, reflective, creative, and
critical members of a variety of literacy communities.
Resources
Theater has changed over many centuries. Theater emerged
in early societies probably first through dance. Performers
wore masks, which represented spirits. They also wore
costumes made of animal skins, grass, rushes, and tree bark.
Ancient Greek drama concerned either tragedy or comedy.
The actors were all male, wearing masks to designate the
different characters. Around 500 BCE, a poet named Thespis
wrote and performed parts for solo actors instead of for
groups of actors (the chorus). Because of this, he is often
called the first actor and playwright. The word scenery
comes from the Greek word skene, the small building
where the actors changed their masks and from which
painted backdrops were hung.
In European medieval times, theatre was religious in
nature, with mystery plays dramatizing Biblical history,
miracle plays portraying episodes from the lives of the
saints and martyrs, and morality plays giving spiritual lessons.
Like ancient theatre, these took place outside, often during
festivals. In 1576, the actor James Burbage built a permanent
building for commercial theatre outside London called
The Theatre. Actors, still male, were members of guilds
(association of craftsmen and merchants) and could
achieve the level of master actor. William Shakespeare
wrote and acted during this time in theatrical history.
Later in the 17th century, Italian theatre design ideas
spread throughout Europe. These ideas included a stage
separate from the auditorium and used perspective to
create more realistic scenery.
12 Fabulously Funny Fairy Tale Plays by Justin McCory
Martin Read-aloud plays with imaginative twists such as
Spiderella and Little Late Riding Hood. Includes vocabulary
and teaching tips for grades 2 through 6.
Glue and Go Costumes for Kids: Super-Duper Designs
With Everyday Materials by Holly Cleeland
Clear directions for ages 5 and older to make 28 clever
costumes using easy-to-find supplies and basic tools.
74
Theatre for Young Audiences: 20 Great Plays for Children
edited by Coleman A. Jennings
Multicultural collection of plays. Engaging and imaginative
adaptations for ages 10 and above.
Vocabulary List
•Language art vocabulary
Act
Part
Actor/actress
Perform
Audience
Performance
Character
Play
Dialogue
Playwright
Direction
Production
Improve
Props
Improvisational
Rehearse
•Art terms
Backdrop
Color
Contrast
Costume
Design
Fabric
Fashion
Masks
Role
Scene
Scenery
Script
Stage
Theatre/theater
Write
Scenery
Sets
Hillcrest Academy for Child Development
Wescosville, Pennsylvania.
Robin Carmody, Heather Trauger
75
Poised for a Performance
K-2
3-4
5-6
Suggested
Preparation
and
Discussion
Display theater programs, play scripts, costumes, and reviews. Ask children about their theater experiences.
How many have seen a stage play? Have any ever acted in one? Discuss the three major elements of a play: script,
actors, and staging (including sets, props, and costumes).
If possible, attend a children’s theater performance. Or watch a taped performance of a stage play. Invite members
of local production companies, such as high school performers, to share their experiences with the children.
Discuss possible characters and scenarios for plays. Remind students that compelling stories address a problem.
Crayola®
Supplies
• Crayons • Colored Pencils • Glitter Glue • Markers • Paint • Paint Brushes • School Glue • Scissors
Other
Materials
• Construction paper • Craft paper • Decorative craft items • Fabric scraps • Posterboard
• Recycled boxes, brown paper bags, newspaper • Rulers • Tape • Water containers
Set-up/Tips
• Ask families to donate clean, safe craft items such as large brown grocery bags, recycled newspaper, and fabric.
• Keep project simple. Allow flexibility in play length and number of actors, as well as variation on the action in
the play. Encourage children’s sense of humor.
• Cover painting area with newspaper.
• When children wear hand-crafted costumes and masks, make sure the craft does not obstruct the child’s vision
or impede movement. Keep away from open flame.
Actor Andrew Sak
Freedom High School Production of Anything Goes
2007
Bethlehem, Pennsylvania.
76
K-2
Process:
Session 1
20-30 min.
3-4
5-6
Write script
1.Form groups of varying sizes. Explore possible scenarios. Choose a story line and develop a beginning, middle,
and end. Include a role for each student in the group.
2.Draft characters’ lines. Use different colors to help distinguish among the speaking parts.
3.Rehearse dialog and stage movements. Do improvisational exercises to prepare for the performance.
Process:
Session 2
15-20 min.
Create sets and props
4.Use recycled items such as cardboard boxes, fabric, and foam core to create simple backdrops and stage props.
5.Paint backdrop and scenery on craft paper, boxes, and other items to illustrate the play’s settings.
Process:
Session 3
20-30 min.
Create costumes
6.Transform found materials into imaginative clothing such as the kimono shown here, wigs, hats, masks, and
Process:
Session 4
headdresses. Use construction paper, glue, and decorative craft items to embellish costumes.
7.To make simple masks, cut head shapes from posterboard. Cut eye holes wide enough so actors’ vision is not
impaired. Draw and/or paint features. Tightly roll and glue paper into a cylinder to create a handle. Attach
handle to mask.
Hold a play festival!
8.Schedule performances. Write and design programs that include credits for all involved and short biographies
of each participant. Invite community members.
Assessment
Extensions
• Did children work cooperatively throughout the writing and production process? Did the play have a clear
beginning, middle, and end?
• Were stage sets and costumes boldly and creatively designed? Did they enhance the performance?
• Were all children included in some aspect of play production?
• Did children present a performance for an audience?
Make sure that students who are talented musicians, gymnasts, comedians, and have other skills incorporate their
abilities into the production.
Try improvisational exercises such as:
• Mirror miming: One partner silently mirrors the other’s movements.
• Emotional roller coaster: Two actors do a scene switching emotions rapidly as new ones are called out.
• Manikin (mannequin) movements: One group acts as silent manikins, moving only as they are physically
moved by partners from the other group who also speak their lines.
• Good things/bad things: Start a story where all good things turn bad and bad becomes good. For example,
while riding on roller coaster, it flew off track, next it sprouted wings, but the wings took the ride under water.
Encourage groups to consider each member’s special skills as they create their scripts. Make certain there is an
appropriate role for everyone, especially younger children and those with special needs.
Check Crayola.com for additional lessons involving costumes and masks.
A student at Hillcrest Academy for
Child Development, Wescosville,
Pennsylvania writing a play script.
77
Make Your Own Mancala Game
Objectives
Children research origins of traditional Mancala games as well
as board games from other cultures.
Children design unique replicas of Mancala games using colorcoordinated pieces and game boards.
Children follow Mancala rules to play the games with classmates.
Interpersonal
National Standards
history and culture
Culture—experiences that provide for the study
Resources
Mancala is an ancient African game, often played with beans
or beads. It is considered the world’s oldest game. Historians
believe it started in Ghana where it is called Wari. Years ago,
rich families had Mancala boards made of carved ivory covered
with gold. Variations of Mancala are played around the world.
Mancala is probably popular because it can be played
simply or with a variety of challenging strategies. To play,
two opponents face each other across a narrow, rectangular
board consisting of two horizontal rows of six cups, each
containing four “stones.” In addition to the six cups, each
player has a “home” cup, also called a kalaha, to the right
of the other cups.
General instructions are:
• Player #1 picks up all the pieces from any one cup on his
or her side of the board, and moving counterclockwise,
drops these pieces one by one in each cup that follows
including the player’s own cups, the “home” cup, and the
opponent’s cups until all pieces have been played. The
only cup to skip is the opponent’s “home” cup.
• If the last piece ends up in the player’s own “home,”
another turn is taken!
• If the last piece ends in an empty space, the player may
take all the pieces in the cup across from that one and
put them in his or her home cup.
• Alternate turns between players until all six of one
player’s spaces are empty. That player then adds all of
the opponent’s remaining pieces to his or her “home”
cup. This ends the round.
• Count the number of pieces in each of the “home”
cups and those are the scores for that round.
Africa for Kids: Exploring a Vibrant Continent,
19 Activities by Harvey Croze
A rich resource written by a world expert on African elephants.
Educates readers on historic and current cultural issues.
Activities vary from crafts to recipes.
78
Kids Around the World Play! The Best Fun and Games
From Many Lands by Arlette N. Braman
Explores cultures and games from around the globe. Activities
include facts about various cultures.
More Math Games & Activities From Around the World
by Claudia Zaslavsky
International puzzles and board games accompanied by
historical and cultural information.
The Book of Classic Board Games by Sid Sackson &
Klutz Press
A book and kit with instructions and cardboard game boards
for 15 different games. Includes playing pieces and rules.
Vocabulary List
Board game
Compound
Contrast
Coordinate
Cultural
Divide
Historical
Knead
Layout
Mancala
Marbleize
Modeling
Origin
Original
Player
Primary colors
Research
Secondary colors
Sphere
Strategy
Texture
Traditional
Variation
League City, Texas.
79
Make Your Own Mancala Game
K-2
3-4
5-6
Suggested
Preparation
and
Discussion
Display board games with international origins such as GO, Nine Men’s Morris, Parcheesi, and Mah Jong, as well as
versions of Mancala. Play them, especially Mancala.
Challenge students to trace the origins of these or other favorite games. Talk about games children play with family
members and what they know about the games’ origins.
Discuss what makes a good game in terms of design, objectives, rules, and strategies. With children, research and
write Mancala rules with historic/cultural information. Copy a set for each child.
Crayola®
Supplies
• Markers • Model Magic® • Paint • Paint Brushes • School Glue • Scissors
Other
Materials
• Paper cups (small, unwaxed) • Recycled newspaper • Recycled shoebox lid • Water containers
Set-up/Tips
• Cover painting surface with recycled newspaper.
• Glaze the pebbles to keep them clean when being handled.
Carved African Mancala Game with Seeds
Artist Unknown
Rosewood, seed pods
3" x 10" x 7"
Private Collection.
80
K-2
3-4
5-6
Process:
Session 1
10-20 min.
Create pebbles
1.Each child forms 48 Model Magic® pebbles. Encourage children to roll various colors together or knead in color
Process:
Session 2
30-40 min.
Create game board
2.Cut off the tops of 14 paper cups. Suggest that children pick two of the colors used for their pebbles to paint
from markers to create a marbleized effect. Air-dry pebbles overnight.
their cups (seven cups of each color).
3.Paint an upside-down shoebox lid to coordinate with the game pieces and cups to create a sense of unity.
Encourage the use of interesting patterns and designs. Air-dry the paint.
Process:
Session 3
15-20 min.
Assemble the game!
4.Write the word HOME in marker on each of two cups. Glue them at opposite ends of the shoebox lid. Glue two
rows with six cups of one color on one long side and six of another color on the other side.
5.Mix equal parts of glue and water. Cover the 48 pebbles with this glaze. Air-dry the glue.
Process:
Session 4
15-20 min.
Play!
6.Review the rules and Mancala’s history. Children play at least two rounds with friends, using each child’s
Assessment
• Game boards are set up according to traditional Mancala design with six cups and one kalaha on each side,
Extensions
game once.
48 game pieces, and rules. Games are attractively designed and color coordinated, giving them a sense of unity.
• Children demonstrate an understanding of the cultural diversity of games by reading the rules and history of
Mancala. Children cooperatively play the game.
they learned.
Encourage children with strong logical thinking skills to design and create their own strategic games to share
with the group.
Make the entire game out of Model Magic compound. After drying and painting, glaze it with a mixture of equal
parts Crayola School Glue and water. Air-dry before use.
Challenge children to make theme versions of Mancala. For example, paint the game board like a cat and shape
the pebbles as tiny fish or mice.
Add texture and weight to the pebbles by mixing aquarium gravel in the Model Magic compound.
Children research variations of Mancala and share their findings with the group.
Ask for parent volunteers to assist with the assembly of games by young children and those with disabilities.
Replica Mancala Game
Artist unknown
Cardboard, Model Magic
Modeling Compound, tempera paint
4" x 12"
Private Collection.
81
Dancing With Your Dog
Objectives
Children observe art works by Keith Haring and William
Wegman to identify unique and similar characteristics of their
artistic styles.
Children participate in movement to music that is intended to
add spontaneity to their artwork.
Children use the works of Keith Haring and William Wegman as
inspiration for the creation of their own original works of art.
Bodily-kinesthetic
Musical
Linguistic
Spatial
Musical
Spatial
National Standards
Reflecting upon and assessing the characteristics
and merits of their work and the work of others
Students apply a wide range of strategies to
comprehend, interpret, evaluate, and appreciate
texts. They draw on their prior experience, their
interactions with other readers and writers,
their knowledge of word meaning and of other
texts, their word identification strategies, and
their understanding of textual features (e.g.,
sound-letter correspondence, sentence structure,
context, graphics).
What Does It Mean?
Social/political art: work
deliberately designed to
make a statement about an
issue in hopes of bringing
about change
Vocabulary List
Keith Haring was born on May 4, 1958, and grew up in
Kutztown, Pennsylvania. Later, he moved to New York City and
made art there on blank advertising spaces in the subways!
His artwork resembles cartoons, but is really much more. It is
active and fanciful, and includes both people and animals in
wonderful, engaging activities. In addition to his interesting
techniques, Haring often used his art to promote meaningful
causes and to comment on social problems. His work was
truly intended to communicate with people.
Haring believed that everyone should be able to own original
art and opened a store in New York City called the Pop Shop.
The floor, walls, and ceiling were all painted in his famous
style of thick black lines on a white background, so it felt like
visitors were actually walking into his art! There he sold pins,
T-shirts, hats, and more with his famous images on them. His art
is everywhere--on clothes and posters and in public parks and
art museums!
Action
Activism
Cartoon
Character
Combine
Commentary
Contemporary
Dancing
Expression
Flat color
Graffiti
Imaginary
Movement
Mural
Outline
Political art
Pose
Proportion
Social art
Technique
Upright
Whimsical
Resources
Keith Haring Coloring Book by Keith Haring
Oversized book with black and white drawings. Focuses
students on Haring’s bold lines.
Keith Haring: The Authorized Biography by John Gruen
Excellent reference on Haring’s life and art. Haring explains
how his art progressed and describes experiences and ideas
he wants to convey with his images.
Wegmanology by William Wegman
A collection of images showing Wegman’s Weimaraners
illustrating nursery rhymes and dressed for careers.
Interesting layouts and creative photography help children
visualize dogs doing very un-dog-like things.
Brownwood Elementary School
Scottsboro, Alabama.
Teacher: Ann Paul
82
Fort Worth, Texas.
Artwork created by
students from
Bentley Elementary School
Lake Mary, Florida.
Teacher: Sue Dietrich
83
Dancing With Your Dog
K-2
3-4
5-6
Suggested
Preparation
and
Discussion
Invite children to examine Haring’s work. Share biographical information. Ask children to identify defining
characteristics of his art such as bold black outlines, animals that seem to have a combination of human and
animal traits, bright flat colors, and specific poses.
Display examples of Keith Haring’s art and several of William Wegman’s books as well as a variety of animal pictures.
Crayola®
Supplies
• Markers • School Glue • Scissors
Other
Materials
• Construction paper
Set-up/Tips
• Collect photographs of animals and other interesting subjects from magazines for a picture file. Laminate if
possible. Make available for student reference.
• Choose several types of musical selections for children to move to during the first session.
Hannah dancing with her pet dogs
Photos by E. Willett
84
K-2
Process:
Session 1
20-30 min.
Process:
Session 2
20-30 min.
3-4
5-6
Sketch some poses
1.Explain to students that Haring typically worked in either marker or paint. He did not sketch with a pencil, so
he could not erase. This technique added to the spontaneity of his work. Tell children they will do an activity to
familiarize them with this approach to art.
2.Play dance music. When it stops, freeze in place. Choose a child in an interesting pose. Everyone else makes a
one-minute drawing of the pose. Draw only the outline of the body, not details. If any students think they made
a “mistake,” encourage them to be creative and make it part of their art. Haring often exaggerated body parts.
3.Repeat several times with different poses.
Make sketches like Haring
4.Review Haring’s work and children’s sketches from the first session.
5.Look at several images from William Wegman’s books and discuss the dogs’ poses. In what ways do they look
like people?
6.Children pick one of their human sketches from the dance session to turn into a dog drawing in a style similar
to Keith Haring’s. On new paper, make a thick black outline like Keith Haring’s.
7.Color in the dog with one solid, bright color. Add a few simple details such as eyes, mouth, or designs like
Keith Haring.
8.Cut out the dog, leaving a small amount of white space around the outline. Glue the pose to construction
paper in a color that makes the art stand out. Air-dry the glue.
Process:
Session 3
15-20 min.
9.Repeat steps 6 to 8 until each child has several dogs mounted on
Process:
Session 4
15-20 min.
10.Add simple, bold, black designs as a base for the dogs or to suggest
Assessment
colored construction paper. Children arrange their dancing dogs on
larger paper. Glue in place. Air-dry glue.
a background.
• Children participated in the dancing/sketching session and used only outlines of the poses.
• Children drew dogs in human-like poses with simple black outlines.
• Children colored in dog with one flat bright color and cut out and mounted the art on a contrasting
colored paper.
• Children demonstrated their knowledge of Keith Haring by creating an artwork in his style.
they learned.
Extensions
Mount all dogs on large mural paper. Work together to create a simple background design with thick black dots
and lines.
Older, more sophisticated children and those with the ability to see the social implications of art work do further
research on Haring and other artists who made social/political statements with their art. Encourage students to
share their findings with the group. Create posters in Haring’s style expressing their own personal views.
Because of the simple, almost abstract nature of this assignment—the use of large, bold markers that don’t require
as much small motor coordination as other drawing tools, and the movement involved—younger children and those
with special needs may find this an especially appealing activity. Encourage them to work freely to create their
own unique works of art.
Conduct informal research to find examples of people who look like their dogs. Children and their families can
do this in their neighborhood, at the entrance to a pet store, or at pet shows, for example.
Children bring in photographs of their own animals. Cut and glue them to a collage.
Children draw themselves as their dogs. Or glue photographs of their faces on the flat colored drawings.
85
“Real Estate” Ads for Wildlife
Objectives
Children research the current status of an endangered plant
or animal by focusing on characteristics of living organisms and
things on which they depend for their basic needs.
Children use principles of art and design to create an effective
advertisement for a piece of real estate to be left for an endangered plant or animal.
What Does It Mean?
Preservation: to protect,
such as from extinction or
damage over time
Linguistic
Linguistic
Naturalist
Spatial
National Standards
other disciplines
Science Standards
Life Science—organisms and environments
History and Nature of Science—science as a
human endeavor
Vocabulary List
The U.S. Endangered Species Act (ESA) was passed in 1973 to
ensure that plants and animals that are in danger of becoming
extinct will be protected. Plants and animals are labeled as
either endangered (literally in danger of becoming extinct) or
threatened (likely to become endangered if circumstances do
not rapidly change), depending on how many are left in the
wild and what the issues are.
More than 1050 animals and 730 plants in the United States
were officially listed as of May 2000. They are now protected
by local, state, and federal laws and some species are even
protected by more specific acts such as the Marine Mammal
Protection Act. Many other countries have passed similar acts
to protect endangered and threatened species, and several
species are protected on the international level as well. Some
animals protected in North America include the American bison
and crocodile, bats, beluga whale, bobcat, dolphins, grizzly bear,
killer whale, manatee, prairie dog, and several snakes.
Resources
All Kinds of Habitats by Sally Hewitt
Describes the various habitats such as city, forest, and
grassland; and the animals and plants found in each.
• Science vocabulary
Advertisement
Bird
Border
Community
Conservation
Convince
Development
Endangered
Environmental
Expert
Fish
Habitat
Insect
Mammal
Native
Outline
Persuade
Preservation
Real estate
Represent
Reptile
Research
Scientist
Species
• Art terms
Balance
Bold
Color
Contrast
Design
Illustration
Image
Layout
Text
Can We Save Them? Endangered Species of North America
by David Dobson
Lists endangered animals and wildflowers. Provides facts about
why they are endangered and measures being taken to save
them. Includes ideas for how children can help.
National Geographic Encyclopedia of Animals by
Karen Mcghee and George McKay
Interesting photographs and facts about more than 1,000
animals and their habitats. Includes current scientific
information as well as maps and a glossary.
Lakewood Elementary School
Fort Worth, Texas.
Teacher: Connie Diane McClure
86
Lakewood Elementary School
Fort Worth, Texas.
Teacher: Connie Diane McClure
87
“Real Estate” Ads for Wildlife
K-2
3-4
5-6
Suggested
Preparation
and
Discussion
With children, display information and photos of endangered plants and animals. Include books and magazines with
large, attractive photographs.
Discuss the Endangered Species Act and some of the animals and plants protected by it. What is currently being
done to protect them? What else could be done?
Display posters that have strong visual impact and examine layouts of real estate ads. Note the three major parts of
a display ad: headline, visual, and informative text.
Tell students they will be creating an ad for “real estate” that might meet the needs of a specific endangered species.
Crayola®
Supplies
• Colored Pencils • Markers
Other
Materials
• Poster board • Rulers
Carved African Antelope Sculpture
Artist Unknown
Wood
30" x 10" x 4"
Private Collection.
Carved African Animals
Artist unknown
Carved, painted wood
Approximate size of each
animal is 2" x 2" x 5"
Private Collection.
88
K-2
Process:
Session 1
15-20 min.
Process:
Session 2
20-30 min.
Assessment
3-4
5-6
Research a plant or animal
1.Each child chooses one plant or animal for this project. Research the current status at www.kidsplanet.org
and/or other resources. What kind of habitat does the chosen species need? Why is the species endangered?
What can be done to help it thrive?
2.Based on the needs of the chosen species, what should be emphasized in the ads? Does the advertised habitat
have a water source? If the endangered species is a panda, is there a bamboo grove?
Design the advertisement
3.On posterboard, mark off a large square or rectangle for a picture to be the focal point of the ad. Create a
bold, colorful illustration of the endangered plant or animal in the habitat that is being advertised. Refer to a
photograph for accurate details. Add an interesting border.
4.Above the picture write a headline or “teaser” emphasizing details about the real estate that will meet the needs
of the species. Choose large letters and bold color to catch the viewer’s attention. Remember that a headline
should be concise and informative and include at least one noun and one verb. Use contrasting colors for
emphasis. Add borders for extra visual impact.
5.Below the picture, add a paragraph with specific, informative details about the property. Include the name and
contact information for the real estate “agent.”
6.Display the ads in a well-traveled area. Place paper and pencils near each ad to encourage visitors to suggest
ideas for helping species. Review these contributions.
• Children researched an endangered or threatened plant or animal and shared that information with the group
on a poster.
• Children created a poster with a layout in the style of a real estate advertisement. Each poster included a “teasers,”
a visual, and an informative paragraph. Posters are visually striking and include accurate information, with far
greater detail and levels of sophistication expected as children mature.
they learned.
Extensions
Students create a mix-and-match game on index cards. For each set, one card is a detailed picture of an
endangered plant or animal, and one has an illustration of its ideal habitat.
Encourage children with academic talents to incorporate this project into a geography unit by charting
endangered species on a world map with correlating information.
To help children with special needs experiment with page layout and design, encourage them to create the
drawing, headline, and text on three separate sheets of paper. Show them how to try various layouts on the
posterboard before gluing anything down.
Encourage children to become proactive in their attempts to help endangered species by carrying their campaigns
beyond the school. Write letters to the editor of the local paper or representatives. Display posters on community
bulletin boards. Make pins or T-shirts with a wildlife theme.
Bullard Talent School,
Fresno, California.
Teacher: Ann Winters-Canfield
89
Pirates in Poetry
Objectives
Students construct a 3-D pirate hand puppet on which to
display their poetry.
Students plan and implement a poetry reading at which they
present their work orally.
Students compose poetry reflecting their research about pirates.
Bodily-kinesthetic
Linguistic
Linguistic
National Standards
Students employ a wide range of strategies as they write and use
different writing process elements appropriately to communicate
with different audiences for a variety of purposes.
their own purposes.
Vocabulary List
Pirates have raised havoc on the high seas since people began
sailing. Pirates even captured Julius Caesar and held him for
ransom. When the ransom was paid and the leader freed, he
returned to where he had been held and killed all of his captives, just as he had joked that he would during his captivity.
During the 17th and 18th centuries, valuable items were
being transported around the world, so there were a lot of
pirates. That time is often called the golden age of pirates. Some
pirates had wealthy backers who would get a percentage of
their haul. Many countries encouraged pirates to attack the
ships of their enemies while the pirates left their own vessels
unharmed. Famous European, Chinese, and Muslim pirates
sailed the seas.
With larger merchant vessels, better communication technology, increased naval patrolling of the seas, and recognition of
piracy as an international crime, the incidents of piracy have
decreased. Nevertheless, the International Maritime Bureau,
based in London, reported 445 incidents of piracy in 2004.
Resources
Aboard
Booty
Captain
Chest
Journey
Map
Mate
Ocean
Pirate
Piracy
Piratica
Poem
Poet
Poetry
Puppet
Rhyme
Sail
Sea
Ship
Smuggler
Stow
Trade
Treasure
Treasure chest
Verse
Voyage
Daring Pirate Women by Anne Wallace Sharp
Well documented and alluringly told for grades 5 through 8.
Do Pirates Take Baths? by Kathy Tucker
With a jocular tone, children’s questions are answered in
rhyming verse and amusing watercolors. For children up to
second grade.
Pirates by Greg Nickles, Bobbie Kalman, and Barbara Bedell
Factual information about the pirates of the 17th and 18th
centuries. Dynamic illustrations. For upper elementary children.
Pirate’s Diary by Richard Platt
Told from a 9-year-old’s point-of-view. Life aboard a pirate
ship for children 9 to 12.
Reflections on a Gift of Watermelon Pickle edited
by Stephen Dunning
A selection of 114 modern poems picked for their kid appeal.
Evocatively illustrated with black and white photographs.
League City, Texas.
90
League City, Texas.
91
Pirates in Poetry
K-2
3-4
5-6
Suggested
Preparation
and
Discussion
Ascertain the children’s level of familiarity with poetry. Point out that poetry is a unique way to tell a story. Read
poems written by adults and children, including some familiar ones that children might not think of as poetry such
as suitable popular songs. Pick poems that rhyme and some that do not. Also include poems with a wide variety of
topics. Brainstorm ways that poetry differs from books and short stories.
Research information about pirates. Where did they roam? What were their ships like? What booty did they
commonly seek? Use research findings to make a list of words and ideas that describe a pirate’s life and adventures.
Display books about pirates, fiction and nonfiction, as well as poetry collections.
Crayola®
Supplies
• Crayons • Colored Pencils • Markers • School Glue • Scissors
Other
Materials
• Collage materials (such as fabric scraps, feathers, ribbon) • Construction paper
• Paper lunch bags • White paper
Set-up/Tips
• For children with emerging literacy skills, ask an older child or adult volunteer to transcribe the poems.
• If children’s poems are longer than a page, make a book before attaching it to the puppet.
• Fold puppet arms around poem to look like puppet is holding poetry.
Captain Hook's Ship in the
Princess Diana’s Children’s Playground
in Kensington Garden
London, England
Photo: R. De Long
92
K-2
Process:
Session 1
20-30 min.
3-4
5-6
Compose poem
1.Using the list of words, draft a poem about pirates and their adventures. Consider who will read the poem and
pick appropriate vocabulary words and ideas. Check spelling and punctuation.
2.Read the poem to at least one other person to get constructive feedback. Edit the poem accordingly.
Process:
Session 2
15-20 min.
Process:
Session 3
20-30 min.
Start pirate poem puppet
3.Turn an unopened lunch bag so that the bottom faces up. Draw the head of a pirate, parrot, or other character
related to the poem on the bag’s bottom. Leave the front of the puppet blank for now.
4.Decorate the puppet with collage materials. For example, use fabric scraps to make an eye patch or
colorful bandana.
5.Cut out paper arms and legs. Glue them to the bag’s sides.
Assemble pirate puppet
6.Cut paper to fit the front of the
puppet. Write the edited poem
on it. Decorate the page around
the poetry.
7.Glue poem to front of bag.
Add decorations to the rest
of the puppet.
Assemble pirate puppet
6.Cut paper to fit on the puppet’s body. Copy the edited poem on it.
Decorate the rest of the page. Glue poem to front of puppet.
7.Create a cover page with poem’s title and poet’s name. Decorate
the cover. Glue it along one edge of poem. Add any other details to
the puppet.
Process:
Session 4
20-45 min.
Read poetry
8.Plan and implement a poetry reading for families. Display poems at reception afterwards.
Assessment
• Are children able to distinguish between poetry and prose?
• Did children use a wide variety of descriptive words? Were poems properly spelled and punctuated? Were the
puppets connected with the poem? Did students follow directions to construct a unique puppet?
• Did students work cooperatively to plan the poetry reading? Did they actively participate, presenting their work
clearly and loud enough to be heard? Did they interact with visitors during the reception?
Extensions
Organize a pirate school with
activities such as bandanna decorating, walking the plank practice,
talking parrot classes, and treasure
mapping.
As a group, agree upon a “pirates
code of conduct” to follow.
Make a “magnetic” poetry corner.
Children copy words they used in
their poems on index cards. Children
use each other’s words to make
more poetry. Add to word collection.
Form a pirate book club. Read fiction books about pirates such as
Captain’s Abul’s Pirate School by Colin McNaughton, Mary Pope Osborne’s
Pirates Past Noon, and The Pirate Queen by Emily Arnold McCully.
Arrange a treasure hunt for families to do together. Draw treasure maps
to follow.
Create a list of wacky subjects and challenge children to compose poems.
Have older children write them in a related shape such as a diamante
(a cinquain written in a diamond shape).
Experiment with other types of poems such as haiku, (five-syllable lines
in first and third lines, seven-syllable lines in middle about nature), cinquains,
and limericks.
93
Pizzazzy Pins
Objectives
Children use glue to outline designs for crayon-colored
decorative pins.
Children make an object of personal adornment that
expresses their aesthetic identity and design sense. Children
identify whether the pin is a gift or to wear for themselves.
Intrapersonal
Spatial
Naturalist
Spatial
Naturalist
National Standards
and ideas
Individual Development and Identity—experiences that provide
for the study of individual development and identity.
Vocabulary List
Decorative pins probably have been used for as long as people
have made and worn clothes. Early examples of pins have been
found made out of thorns and fish bones and carved out of
ivory and bone. It is imagined that these were strictly utilitarian
in purpose.
During the Middle Ages in England, there was a Pinmakers
Guild (an association of craftspeople). At that time straight pins
were individually forged from two separate pieces of bronze
wire and therefore were expensive items to buy. Often a bonus
would be given after a business transaction had concluded.
This bonus was for something for the wife “for her pynns,” her
personal expenses including the cost of purchasing pins for
sewing. Thus, it is said, came the term pin money.
Resources
Clothing and Jewelry by Fiona MacDonald
Surveys things worn from past to present within many
cultures. Close-up photography and illustrations. For children
ages 4 to 8 years old.
Dazzling! Jewelry of the Ancient World from Lerner
Geography Department
Not only displays jewelry but discusses how archaeologists
found and dated items. Also includes information about
jewelry making materials and techniques. Ages 9 and up.
Great Gorilla Grins: An Abundance of Animal Alliteration
by Beth Hilgartner
Helps grades 3-6 explore alliteration and have fun with
words and language.
Collection of Crayola Pins
Private Collection.
94
Accessory
Adornment
Alliteration
Badge
Brooch
Decoration
Decorative
Gem
Jewel
Jewelry
Pin
Wear
Wearables
League City, Texas.
95
Pizzazzy Pins
K-2
3-4
5-6
Suggested
Preparation
and
Discussion
Collect and display various types of pins and brooches. Invite children to wear some of their own favorite pins
so that others can see the range of designs found in this type of jewelry. Encourage children to share the history of
their pieces.
Explore the tradition of wearing pins for both men and women found throughout history. Examples may include
Ancient Rome, Egypt, African nations, Vikings, as well as contemporary tie and kilt pins.
Look closely at the pins that catch children’s eyes. Talk about what is it about these pins that appeals. Is it their
shape? Size? Color? Pattern? Sparkle? Ask what elements they plan to include in the design of their pins.
Show several samples of different shapes and pin designs. Demonstrate the steps so children see how the glue
dries clear and lets the black background show through. Remind them about qualities that make a design catch the
eye, such as repetition of lines or shapes to form a pattern, the relationship to the pin’s shape, and bold, strong lines.
As a class or in small groups, compose a puppet show about persistence drawn from real life experiences, literature,
or pop culture. Design marionette characters to take part in the play.
Display pictures and examples of puppets from around the world and throughout history.
Crayola®
Supplies
• Colored Pencils • Construction Paper™ Crayons • School Glue • Scissors
Other
Materials
• Facial tissues • Foam board (black) • Pin backings
Set-up/Tips
• Ask parents to cut various pin shapes with a sharp knife.
• Close adult supervision is recommended because this project involves a functional sharp point.
• If pin backings are unavailable, use safety pins. Or make shapes into pendants.
Assorted decorative pins
Private Collection.
96
K-2
Process:
Session 1
20-30 min.
3-4
5-6
Design pins
1.Choose a pin shape. Sketch possible pin designs. Keep in mind the person who will wear the pin. Remember,
lines will show through as black! Consider writing words as well as images.
2.Draw with glue to reproduce the pin design on the foam board. Air-dry glue overnight.
Process:
Session 2
15-20 min.
Finish pins
3.Fill in spaces between lines of glue with heavy layers of crayon color. Choose colors that will please the wearer.
4.Lightly buff the crayon color with a tissue to make it shine.
5.Glue on pin backing. Air-dry overnight before wearing or wrapping as a gift.
Assessment
• Did children follow directions to take advantage of the black paper showing through the dry glue? Are the designs
unique and aesthetically pleasing?
• Did children fill the entire pin surface with color?
Extensions
Collect expressions related to pins such as “neat as a pin” or “so quiet you can hear a pin drop.” Research the s
tories behind these phrases.
Make other styles of jewelry using different media. Try using Crayola Model Magic® compound and Air-Dry Clay
for entirely different looks.
Some children may wish to trace a design on their pin, then outline it in glue.
Choose a cause and create message pins to promote it.
Use this same technique to design larger-scale works for framing as gifts.
Assorted decorative pins
Private Collection.
97
Murals With a Message
Objectives
Children investigate social commentary and storytelling
aspects of art by major artists and make connections between
visual arts and other disciplines in their own art production
and reflection.
Children focus on a cultural issue important to them and
employ strategies to tell a story through the visual arts in
a mural.
Interpersonal
Intrapersonal
Spatial
Linguistic
Spatial
National Standards
Culture—experiences that provide for the study of culture and
cultural diversity.
(e.g., conventions, style, vocabulary) to communicate effectively
with a variety of audiences and for different purposes.
Resources
Jacob Lawrence was an African American artist whose work
was known for its emphasis on storytelling. He was born
on September 7, 1917, in Atlantic City, New Jersey. He spent
portions of his life in both Easton (the home of Crayola) and
Philadelphia, Pennsylvania, before moving to Harlem in New
York with his mother and sisters, at age 13. Lawrence’s work
focuses on the history of African Americans in the United
States. Many of his screen prints, which are bold and graphic,
include several panels that tell the same story, each in a different way. He includes scenes of everyday life, historical events,
and the lives of African American heroes and heroines in his
work. He died in 2000.
Faith Ringgold, born on October 8, 1930, in New York
City, is an African American artist and author. She grew up in
New York, where her mother was a dressmaker and fashion
designer. Her father, divorced from her mother, influenced
Ringgold’s with his wonderful storytelling. Ringgold taught in
the New York City schools for many years. Throughout her life,
Ringgold was troubled by racism and sexism and her work
deals with these issues. Her artwork developed through several
phases, including soft-sculptural masks, performance art, and
story quilts. Her famous story quilt Tar Beach hangs in the
Guggenheim Museum. In 1991 she published a children’s
book of the same title.
Diego Rivera was born in December 1886 in Guanajuato,
Mexico. When he was 2 years old his twin brother died and
soon after he became sick as well. His parents sent him to
live with a special nurse near the jungle where he played and
learned to love the animals. When he went back to his parents,
they gave him a box of colored chalk. He started to draw
everything and everywhere. Later, he made paintings that
showed common things in Mexican life, such as Day of the
Dead celebrations and the plight of the poor. He is most
famous for painting large murals that tell the stories of
typical rituals and events in Mexican life. He died in 1957.
Diego Rivera: Artist of Mexico (Famous Latinos series)
by Lila Guzman and Rick Guzman
Features glossary, timeline with photographs, and colorful
reproductions of the artist’s works with captions. Easy-to-read
biography and colorful illustrations.
98
Faith Ringgold (Portraits of Women Artists series)
by Robyn Montana Turner
Depicts Ringgold as a gifted and strong individual. Details how
her family and African American heritage is so vital to her work.
Color reproductions of her art.
Frida Kahlo and Diego Rivera: Their Lives and Ideas,
24 Activities (For Kids series) by Carol Sabbeth
Tidbits of information in a colorful format that explain
commonalities with these two famous Mexican artists. Focuses
on the social issues they each explored in a positive light.
Philadelphia Murals and the Stories They Tell
by Jane Golden, Robin Rice, Monica Yant Kinney, David Graham,
and Jack Ramsdale
Chronicles beginning of the Mural Arts Program (MAP) as part
of Philadelphia Anti-Graffiti Network. Colorful illustrations.
Goes behind the scenes to explain process and inspiration.
Story Painter: The Life of Jacob Lawrence by John Duggleby
Biography of African American artist Jacob Lawrence also
acts as a history of Harlem in the 1930s. Tracks Lawrence’s life
and discusses the focus on social issues in his art. Full-page
color illustrations.
Vocabulary List
Artist
Artist statement
Color
Community
Contemporary
Culture
Diverse
Fibers
History/historical
Illustrate
Illustration
Literature
Mural
Muralist
Pattern
Printmaking
Quilt
Reflect/reflection
Screen print
Social issue
Story
Symbol
Urban
St. John Neumann School
Palmerton, Pennsylvania.
Teacher: Paula Zelienka
Artwork created by students from Highlands
Elementary School, Atlantic Highlands, New Jersey.
Teacher: Janet L. Paulmenn
99
Murals With a Message
K-2
3-4
5-6
Suggested
Preparation
and
Discussion
Read Faith Ringgold’s book and discuss illustrations. Ask children which they think came first—the art or
the story?
Read book illustrated by Jacob Lawrence and discuss how the images and story focuses on social issue. Discuss
process of screen printing.
Discuss programs such as Philadelphia’s Mural Arts Program and relevant social issues. Share images of sample
murals. If possible, view similar murals in the community.
Review motivation for addressing social issues in art by Lawrence, Ringgold, and Rivera. Generate a list of social
issues/events that concern children. As a group, choose one issue to address in a group mural.
Display images and information about Diego Rivera and his murals.
Crayola®
Supplies
• Colored Pencils • Crayons
• Markers
• Paint Brushes • Tempera Paint
• Colored Pencils
Other
Materials
• Roll paper • White paper
• Containers of water • Recycled newspaper
Set-up/Tips
• Cover painting surface with newspaper.
Detail of Crayola Corporate Mural
Artist unknown
Acrylic paint on wall
9' x 10'
Collection of Crayola LLC.
Artwork by students from West Ward
Elementary School, Slaton, Texas.
Teacher: Yvonne Greene
100
K-2
Process:
Session 1
20-30 min.
Process:
Session 2
20-30 min.
3-4
5-6
Plan the mural
1.Decide on a format for a mural, keeping in mind that the concept is to tell a story with the picture(s). Will the
mural be one large picture depicting several events? Or will it be in sections? Will it have a decorative border
like Ringgold’s quilts?
2.On large roll paper sketch basic parts of mural. Make sure each student contributes to the effort.
3.Children each refine ideas for their specific part of the mural. Note details to include.
Design the mural
4.For the base, peel labels from
crayons. Use the side to rub
large areas of color to fill the
space that will help assure that
images flow together to create
unity of the entire piece.
5.Children take turns coloring
their sections of the mural. Add
details with a variety of media.
6.Children sign their names on
the mural.
Paint the mural
4.Several children at a time paint the section of the mural that they
sketched. First paint the basic layer with no details. Let that area dry
while others paint their first layer. Encourage students to fill the space.
5.Paint details on images. Be sure that images flow together in a logical
manner to create unity of the entire piece.
6.Children sign their names along the border, bottom, or corner of
the mural.
Process:
Session 3
15-20 min.
Reflection
7.Compare/contrast the mural to other artists’ works used as inspiration. Have children write their feelings about
Assessment
• Children collaboratively choose and effectively depict a social issue of importance to them.
• Children work efficiently in small groups (one group at a time) to fill space of large mural paper.
• Children express their feelings of the process and product in their artist statement.
the image and process as an artist’s statement.
they learned.
Extensions
Display the mural. Mount reflections on paper and display with the mural. Provide blank paper for viewers to
add their own reflections.
Leader makes notes during introductory discussions and again at conclusion. Further reflect with children by
comparing/contrasting lists.
Create a reflection book about a national or local event that affects the children. Have each child review this
project and make their own mini mural (drawing or painting) about it and write their feelings. Bind the book
together.
Children with mobility challenges could each create their own pictures. Cut out and glue together on large paper
to create the mural.
Gifted children could each make a mural depicting their life or the life of a famous social activist. Begin with a
simple timeline of major events. Display and have others identify whose life is portrayed.
Follow up with more related lesson plans from Crayola.com such as:
• Jacob Lawrence’s Painted Stories
• Neighborhood Quilt [Ringgold]
• The Murals of Diego Rivera
• Remember the Best [Rivera, Ringgold, Picasso]
101
Choosing Crayola Art Supplies
The lessons in this guide suggest types of art materials. This chart outlines the specific characteristics of different
Crayola art materials. Use it to choose which variation best meets your needs and those of your students.
102
CRAYONS/OIL PASTELS
CHARACTERISTICS
Regular Crayons (3-5/8" x 5/16")
• Brilliant colors; smooth, even color lay down.
Large Size Crayons (4" x 7/16")
• Larger size for younger child palm grip.
Triangular Crayons
• Triangular shape helps guide correct pincer grip.
• Anti-roll.
Washable Crayons
• Available in regular, large, and triangular sizes.
• Superior washability from walls, tables, and most surfaces.
Construction Paper ™ Crayons
• Color shows on dark paper, brown craft paper, and similar surfaces.
Fabric Crayons
• Permanent when drawing is heat transferred to synthetic fabric.
Twistables® Crayons
• Durable plastic barrel.
• No sharpening with easy twist-up action.
Twistables Erasable Crayons
• Complete erasability of marks.
• Eraser on each crayon.
Twistables Slick Stix ™ Crayons
• Super-smooth color glides on paper.
• Water soluble upon application.
• Dries quickly with no smearing.
• Great for older student crayon techniques.
• Appropriate for students with special needs due to ease of color lay down.
Oil Pastels
• Opaque colors blend easily.
• Good color lay down.
• Hexagonal shape prevents rolling.
Portfolio® Series Oil Pastels
• Opaque colors blend and layer well, with velvety lay down.
• Unique water solubility allows watercolor washes.
MARKERS
CHARACTERISTICS
Regular Markers
• Bright, brilliant, transparent colors.
• Conical tip draws thick and thin lines.
• Fine tip draws thin lines and detail.
Washable Markers
• Washability you can trust™–superior washability from hands and most clothing.
• Fine tip draws thin lines and detail.
• Wedge tip provides ease in broad strokes and vertical applications.
Gel Markers
• Bright, opaque colors that deliver bold marks on black and dark papers.
• World’s most washable marker with superior washability from hands and
most clothing.
• Writes on glass, foil, glossy, and other non-porous surfaces.
Overwriters® Markers
• Bright “overcolors” magically color over darker “undercolors” for exciting and
dramatic effects.
Color Changeables™ Markers
• Students have fun seeing colors magically “pop out” over each other for new
creative expression possibilities.
• Increased color variety as “wand” changes 7 colors to 7 new colors.
Twistables Markers
• No lost caps!
Fabric Markers
• Permanent bright color on cotton or cotton blends when heat set.
• Bullet tip for medium and fine detail.
Dry-Erase Markers
• Low odor, bold color that can be viewed from a distance.
• Chisel and bullet tips.
COLORED PENCILS
CHARACTERISTICS
Colored Pencils
• Bright, vivid colors with opaque lay down.
• Good blending.
• Thick 3 mm lead; made from reforested wood.
Watercolor Colored Pencils
• Water soluble for watercolor and drawing effects.
• Good blending.
Erasable Colored Pencils
• Complete erasability of pencil marks.
• Bright colors with opaque lay down.
• Good blending.
• Eraser on each pencil.
Twistables Colored Pencils
• Bright colors; smooth, even color lay down.
Twistables Erasable Colored Pencils
• Complete erasability of pencil marks.
• Bright colors; smooth, even color lay down.
• Eraser on each pencil.
Write Start® Colored Pencils
• Thick 5.3 mm lead and large hexagonal barrel is great for young students.
• Anti-roll.
• Made from reforested wood.
103
104
MODELING COMPOUNDS
CHARACTERISTICS
Air-Dry Clay
• No firing, air-dry clay.
• Good for high-detail projects.
• Natural clay body to create solid, durable forms.
• Suitable for all clay techniques.
• White color suitable for all color/surface decoration.
• Air-dries hard.
Model Magic®
• Soft, easy-to-manipulate compound.
• Good for low-detail projects.
• Good for young students and those who are developing manual dexterity.
• Air-dries to consistency of a foam cup.
Modeling Clay
• Traditional oil-based clay.
• Non-hardening and reusable.
Paints
CHARACTERISTICS
Premier™ Tempera
• Ultimate opacity and coverage.
• Creamy consistency flows smoothly and will not crack or flake.
• Intense, true hues for accurate color mixing.
Artista II® value-priced Tempera
• Fine-quality colors with good opacity.
• Creamy consistency flows smoothly and will not crack or flake.
• Good hue positions for excellent color mixtures.
• Washable from skin and fabrics.
Washable Paint
• Washability you can trust™–superior washability from skin and fabrics.
• Bright, clean colors for consistent color mixing.
• Smooth-flowing formula will not crack or flake.
Acrylic Paint
• Pigment-rich colors are intense even when diluted; achieve accurate
color mixes.
• Thick, tube-like viscosity, for a variety of techniques from air-brushing
to impasto.
• Permanent, water resistant, and flexible when dry.
Washable Finger Paint
• Bright colors, thick consistency.
• Washable from skin and fabrics.
Watercolors
• Bright, intense, transparent colors.
• True hues for accurate color mixing.
• Ideal for opaque and transparent techniques.
Washable Watercolors
• Washability you can trust–superior washability from skin and fabrics.
• Bright, intense, transparent colors.

After-School Programs

Transcription

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